Undergraduate Course Descriptions, 2023 Winter

A. Medieval and Renaissance literatures: ENGL 343 to ENGL 350

B. 18th- and 19th-century literatures: ENGL 351 to ENGL 364

C. Modern, contemporary, transnational, and Indigenous literatures: ENGL 365 to ENGL 379

D. Media, theory, genre, and special topic:  ENGL 332 to ENGL 339; ENGL 380 to ENGL 397

A. Structure of English: ENGL 330, 331, 321

B. History of English: ENGL 318, 319, 342, 343, 344, 346

C. Approaches to contemporary English: ENGL 323, 324, 328

D. Discourse and meaning: ENGL 312, 322, 327

E. Rhetoric: ENGL 307-311

Note: topics covered in any of the above groups may also focus on ENGL 326 (which has no permanent title) and ENGL 489 (majors seminar-language, where the instructor decides on the topic offered in any given year).

Each course will be classed into one of the groups A-E in any given year, depending on the topic covered. Please see an advisor if you want ENGL 326 or ENGL 489 to count as satisfying group A-E requirements.

Term 1
Mon Wed Fri  9:00 AM - 10:00 AM

In this course we’ll read a selection of short stories from the last 200 years or so. We’ll be especially concerned with narrators, perspectives, and the relationship of description to story-telling. Students will have the opportunity to practise essay writing and research skills.

Required Text: The Norton Anthology of Short Fiction, 8^th edition.

Term 1
Mon Wed Fri   10:00 AM- 11:00 AM

Haunted Houses

“What is a ghost? A tragedy condemned to repeat itself time and again?
An instant of pain, perhaps. Something dead which still seems to be alive.
An emotion suspended in time. Like a blurred photograph.
Like an insect trapped in amber.” – The Devil’s Backbone (dir. Guillermo Del Toro)

Where is the fascination, even when the deepest mysteries of the universe are being scientifically unlocked, in stories of haunted houses? What accounts for the lure, and even the enjoyment, of tales of terror and horror, even in the 21^st century? This course examines the Gothic influence in texts where collisions of past and present, and implications of the uncanny, allow fascinating investigations of social codes and their transgression.

Texts:

Core texts include a small selection of public-domain short stories (to be announced) Shirley Jackson, The Haunting of Hill House; Sarah Waters, The Little Stranger; Helen Oyeyemi, White is for Witching; and The Others (dir. Alejandro Amenábar); possibly another film; as well as Gardner and Diaz, Reading and Writing About Literature (5th edition). Through readings in current criticism and theory, we will develop strategies for textual analysis in literary and cultural studies. We will also consider the difficulty, if not impossibility, of reaching a “fixed” or consensus reading of any text.

Course Evaluation:

Evaluation will be based on a short focused analysis, a midterm essay, a term paper requiring secondary academic research, a short final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 1
Mon Wed Fri   11:00 AM - 12:00 PM

Focused on literary texts in their critical and theoretical contexts, ENGL 100 is a course in academic writing that fulfills the first-year component of the Faculty of Arts Writing Requirement.

This course offers an introduction to literary studies and the disciplines of academic reading and writing. In additional to the assigned texts, we will be reading essays and scholarly articles in order to introduce students to different critical approaches. This section’s theme is about American literature of the 20^th century, and we will consider how various texts attempt to grapple with such historical events as the aftermath of World War II, the Civil Rights movement, and the Cold War.

Texts:

Texts are likely to include John Berryman’s Dream Songs, Eugene O’Neill’s The Iceman Cometh, Raymond Chandler’s The Big Sleep, short fiction from Liberation Day by George Saunders, Toni Morrison’s The Bluest Eye, and Joan Didion’s Democracy.

Term 1
Mon Wed Fri 12:00 PM - 1:00 PM

This course is designed for students interested in the discipline of English literary studies and aims to cultivate in students the practice of reading and writing about literary texts. We will cover the basic concepts and vocabularies of literary criticism, and familiarize ourselves with the central forms and genres of literature—poetry, plays, and prose—and the specific methods involved in analyzing them. We will ask not just what the meaning of a literary work is, but how meaning is conveyed, and why it is conveyed in such a way. That is to say, we will look at the formal elements of a text and the way they interact with, reinforce, or subvert a text’s thematic content. Additionally, we will learn about the conventions of essay writing and how to write good prose. Texts to be studied may include a variety of poems, William Shakespeare’s Twelfth Night and Titus Andronicus; Bertolt Brecht’s The Good Person of Szechuan, and Nella Larsen’s Passing.

Term 1
Mon Wed Fri 1:00 PM- 2:00 PM

Focused around literary texts in their critical and theoretical contexts, ENGL 100 is a course in academic writing that fulfils the first-year component of the Faculty of Arts Writing Requirement.

In this section of English 100 we will study a selection of poetry from the Renaissance up to the present (see the provisional list below).  Since one purpose of the course is to introduce students to literature’s various critical approaches, we will also examine scholarly articles (available online) on some of the assigned poetry.  In both their proposal for the research essay and the essay itself, students will be expected not only to offer their own interpretations of a poem not discussed in class, but also to cite, demonstrate their familiarity with, and above all respond to a minimum number of secondary sources.  Ideally, then, this course will teach students the skills they need to write research essays in upper-level English courses.

Course requirements: two in-class essays (each worth 15%), proposal for research essay (15%), research essay (25%), final exam (30%)

Texts: The Broadview Introduction to Literature: Poetry, 2nd edition (Broadview); Reading and Writing about Literature: A Portable Guide, 5th edition (Bedford/St. Martin’s)

A provisional list of poems: Shakespeare, “Shall I compare thee to a summer’s day?”; John Donne, “The Flea”; William Blake, “The Chimney Sweeper”; Christina Rossetti, “Goblin Market”; W.B. Yeats, “The Second Coming”; T.S. Eliot, “The Love Song of J. Alfred Prufrock”; W.H. Auden, “Musée des Beaux Arts”; Adrienne Rich, “Aunt Jennifer’s Tigers”; Margaret Atwood, “Death of a Young Son by Drowning”; Jackie Kay, “In My Country”

Term 1
Mon Wed Fri   2:00 PM- 3:00 PM

Storying Conflict: Narrative in Canadian Literary Contexts

According to narratologist H. Porter Abbott, “the representation of conflict in narrative provides a way for a culture to talk to itself about, and possibly resolve, conflicts that threaten to fracture it (or at least make living difficult).” In an increasingly polarized, fractured, and wounded world beset by crises both global and local, Canada remains, as it has always been, a space of multiple conflicts. This section of ENGL100 will focus on contemporary Canadian and Indigenous literatures, exploring works in multiple genres (short stories, short film, poetry, a novel, and life writing) that share an interest in turning to narrative and storytelling as creative spaces to ask the hard questions and explore conflicts. Some of our texts will take on conflicts that are public and political: pandemic, climate change, medical ethics, (neo)colonialism, racism, and inequity, among other concerns and injustices. Others explore the intimacies of private crises over relationships, identity, responsibilities, family, grief, belonging, and community. Most, in fact, do both. Approaching literature as an art where private life and public history merge, we will turn to a variety of Canadian texts to investigate how conflict—whether personal, communal, national, and/or global in scale— structures narrative. How and why do writers narrate conflict? What does literature offer to the difficult conversations prompted by conflict and crisis? How do different forms and genres of writing function to engage readers in these conversations? We’ll take up these and other questions prompted by narratives that invite us to consider the ways literature engages dilemmas, embraces uncertainty, opens debate, entertains ambiguity, asks “what if?”, and locates hope.

N.B.: The texts we will read emerge from Canadian contexts and narrate lived and imagined experiences that ask us to critically consider, among other things, the politics of history, identity, gender, sexuality, colonialism, race, diaspora, multiculturalism, belonging, nationhood, land, Indigeneity, and ecology. Please be aware that some readings openly address material from these contexts that can be challenging, including racial, colonial, and gendered violence.

About ENGL 100 and Course Objectives

ENGL 100 is a writing-intensive introduction to English literature and language studies through the exploration of texts in their critical and theoretical contexts, and is recommended for students intending to become English majors. In lectures, workshops, and group activities with peers, we will work on developing the skills needed to think critically, read inquisitively, and write persuasively about literary texts. You will learn and practice methods of textual analysis, research, and essay composition. Special focus will be placed on learning the foundations of narrative theory and cultivating the skills of close reading, with particular attention to the relationship between form and content in literary texts. By the end of the course, you will (a) be familiar with a range of narrative forms and literary genres used by contemporary authors in Canada; (b) understand some of the cultural, political, historical, and theoretical contexts that inform these literatures and their interpretation; (c) appreciate the ways form and style shape content to produce meaning in literary texts; (d) understand how to find, evaluate, and use research in literary criticism; and (e) have facility with academic essay-writing in the English discipline.

Term 1
Tue Thu  9:30 AM - 11:00 AM

Why Fairy Tales Still Matter

“People are suffering. People are dying. Entire ecosystems are collapsing. We are at the beginning of a mass extinction and all you can talk about is money and fairy tales of eternal economic growth.”--Greta Thunberg

When Greta Thunberg spoke of fairy tales at the UN Climate Action Summit, she used the term in a way that dates to at least the 1740s—to refer to a deceptive, idealized fantasy that ignores the harsher realities of life. But is that characterization entirely fair? And what, exactly, is a fairy tale anyway? Why do some remain popular even two or three hundred years after they were first published? And why do modern writers so often return to the form, sometimes to rewrite old tales and sometimes to compose brand-new ones? In this course, we will address these questions by reading and discussing a variety of classic tales by the Brothers Grimm, Charles Perrault, and Jeanne-Marie Leprince de Beaumont as well as modern versions of those tales by Emma Donoghue, Francesca Lia Block, and Donna Jo Napoli. We’ll end the term by examining a graphic novel by Bill Willingham in which fairy tale characters figure prominently. In lectures and discussions, we’ll consider how fairy tales have been adapted to meet the needs of different historical periods, and how different critical approaches to the same text can yield entirely different—even competing—interpretations.

Term 1
Tue Thu   11:00 AM - 12:30 PM

A writing-intensive introduction to language and literary studies through the exploration of texts in their critical and theoretical contexts. Fulfills the first-year component of the Faculty of Arts Writing and Research Requirement. Open only to students in the Faculty of Arts. Recommended for students intending to become English majors. Essays are required.

Term 1
Tue Thu   12:30 PM - 2:00 PM

In this writing-intensive introduction to language and literary studies, we will look at how literary artists themselves think about literature, something they often reveal when they place themselves in line with (or in opposition to) previous texts and traditions. We will read 3 clusters of texts that allow us to explore ideas of writing in, and writing back. Our first cluster is built around a medieval literary figure who has also been persistently fascinating to modern audiences, Geoffrey Chaucer’s Wife of Bath. We will read selections from Chaucer (in translation), alongside two modern poetic responses (by Jamaican poet Jean “Binta” Breeze and British poet and spoken-word performer Patience Agbabi), as well as the very recent play by British writer Zadie Smith, called The Wife of Willesden. Our second cluster begins with the tradition of “carpe diem” poetry as reflected in some of its most iconic poems, by Christopher Marlowe, Walter Ralegh, Andrew Marvell, and John Donne, and then considers how early modern poetry like this is refracted and repurposed in the Oji-Cree writer Joshua Whitehead’s 2017 poetry collection Full-Metal Indigiqueer. Finally, we will read William Shakespeare’s A Midsummer Night’s Dream, and consider two very different reimaginings of the play, the first a 1968 Royal Shakespeare Company theatrical production (filmed and available complete on YouTube) that vibrates with the energy of 60s pop culture, and the second, Neil Gaiman’s retelling as part of his monumental graphic novel series, The Sandman. A range of readings and scaffolded assignments throughout the term will offer you the tools to think through how and why literature works - when, where, and for whom.

Term 1
Tue Thu   2:00 PM - 3:30 PM

Storying the Social Self:  Life Narratives of Artists and Their Communities

What role does storytelling play in the development of the private and public self?

We all share stories or even imagine ourselves as the audience for our internal meditations.  We share life experiences through conversations, email,  social media, and other forms of communication.  Many of us write about our experiences in diaries or journals to track our lives, record travel, work out problems, and find solutions.  More importantly, we often find special connections and inspiring points of commonality by reading writers who disclose their inner lives through public platforms such as autobiography, literary essays, confessional poetry, Youtube vlogs, or music videos.

In this section of English 100,  we will read fiction, memoir, poetry, and a graphic novel that explore the development of a creative persona that often resists social restrictions.  The narrators of these coming-of-age life narratives confront and challenge oppressive social judgements and restrictions based on class, gender, race, and normative embodiment.

In addition to the primary readings, we will study theories of narrative and scholarly research on life narrative across genres.  You will acquire research knowledge in life narrative studies and practice essay writing skills in the interdisciplinary fields of English language and literature studies. Secondary readings that demonstrate interdisciplinary approaches to life narratives will be available as e-texts through the UBC library.

Required readings will include the following:

• Alice Munro, Lives of Girls and Women (Penguin Modern Classics)
• Fred Wah, Diamond Grill (NeWest)
• Maria Campbell, Halfbreed (Penguin Random House)
• David Chariandy, I’ve Been Meaning to Tell You (Penguin Random House)
• Marjane Satrapi, Persepolis, Volume 1 (Pantheon)

Selections from the following E-Texts available through the UBC Library:

• Porter Abbott, The Cambridge Introduction to Narrative, Second Edition (Cambridge UP 2008).
• Sidonie Smith and Julia Watson, Reading Autobiography:  A Guide for Interpreting Life Narratives, Second Edition (U of Minnesota P, 2010).

Term 1
Tue Thu   3:30 PM - 5:00 PM

Course description not yet available.

Term 2, Mon Wed Fri   9:00 AM - 10:00 AM

Books and Friendship

Aristotle says, “Without friends no one would choose to live, though they had all other goods.” Friendship claims to exist upon a principle of perfect equality. It promises a private intimacy free from masquerade and convention; only a friend knows and loves your “true portrait,” proposes Montaigne. But what would a cultural history of friendship show? Is modern friendship a different kind of thing than friendships in the past? Could you have a friend at first sight, or briefly, or must a friendship be built with labour over time? Is group friendship possible? Can friendship be erotic or romantic? This course thinks about “two [or more] going together,” exemplary and distinctive friendships in fiction, in drama, in poetry, in life.  We consider topics including friends as companions, friends and self-growth, friendships with animals, philosophy of friendship, heroic friendships, queer and romantic friendships, friendship and the nation, doomed and difficult friendships. Writers include Ursula Le Guin, Nella Larsen, Samuel Beckett, John Steinbeck, Virginia Woolf, James Joyce, Kazuo Ishiguro.

Term 2
Mon Wed Fri   10:00 AM - 11:00 AM

Mad Science: An Introduction to Criticism

This course offers an introduction to the skills of literary criticism. Our theme is mad science, a concept we will explore by reading a handful of literary works, ancient, modern, and contemporary. Each of these works raises important questions about the relations between scientific knowledge and human culture more generally. Examples of these questions include: What are the relations between scientific knowledge and power? How should we understand the relations between scientific practice and the emotions? What are the consequences, both for humankind and for nonhumans, of scientific invention? In addition to these and other questions, we will discuss critcism itself as science or technical knowledge.

We begin with Aristotle's Poetics, one of the most influential books of literary criticism, which will help us define terms for our course. We move to Aeschylus' Prometheus Bound, an ancient Greek tragedy that describes the fate of the god Prometheus who is punished by Zeus for teaching humans how to use fire and other basic arts. We continue with Mary Shelley's Frankenstein; or the Modern Prometheus (1818), which tells the story of a scientist who creates a technology (the Creature) that is sentient and intelligent; Shelley's novel becomes the template for many subsequent treatments of the urge to create and control life. R.L. Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (1886), like Shelley's novel, has been enormously influential for twentieth- and twenty-first century readers, as it sets forth a basic theme of (the scientist's) dual personality. Finally, we conclude with Kazuo Ishiguro's Never Let Me Go (2005) and its narrative of a group of young men and women in a dystopian near-future. We will explore each of these texts in their critical, historical, and theoretical contexts, reading secondary sources that will help us to understand these texts and serve as examples of literary criticism.

The course will be taught as a mix of lecture and classroom discussion.

Term 2
Mon Wed Fri   11:00 AM - 12:00 PM

Course description not yet available.

Term 2
Mon Wed Fri   12:00 PM- 1:00 PM

Identity and Belonging

How do we discover who we are and where we belong? How much of who we are is determined by where we come from, who we surround ourselves with, and what we do? What are the stories we tell ourselves about ourselves? These are some of the questions that the selected authors in this course ask us to contemplate.

In this course, we will explore what it means to belong in a variety of contexts within modern North-American society, focusing on the ways that some communities (such as Indigenous, immigrant, and queer communities) experience marginalization and come to reconfigure their own sense of belonging.

Term 2
Mon Wed Fri   1:00 PM- 2:00 PM

Growing Up New : Reading the Contemporary African Bildungsroman

Why has the bildungsroman, the coming-of-age narrative, been such a dominant part of post-independence African writing? Do children witness large-scale social changes in radically new ways?  What does the genre tell us about the pressures shaping young African subjects? And what possibilities might the genre allow for?

In this course we’ll turn to a range of texts from the African continent that explore the complexities of growing up in rapidly changing societies. From the darkly comic Zambian film I Am Not a Witch, to J.M. Coetzee’s sly, pseudo-autobiographical Boyhood, we’ll encounter a wide range of stories that challenge the idea of what “growing up” means on the world’s “youngest” continent.

Other texts include (subject to change):

• Tsitsi Dangarembga – Nervous Conditions
• Binyavanga Wainaina – One Day I Will Write About This Place
• Short Stories by Diriye Osman and Pravasan Pillay, among others

Term 2
Mon Wed Fri   2:00 PM - 3:00 PM

This course offers a writing-intensive introduction to the disciplines of literary studies through the exploration of texts in their critical and theoretical contexts. The course fulfils the first-year component of the Faculty of Arts Writing and Research Requirement and is open only to students in the Faculty of Arts. The course is recommended for students intending to become English majors. Essays are required.

The readings, organized broadly according to genre, may include the following:

Short Stories

• Edgar Allan Poe, "The Casque of Amontillado" (1846)
• James Joyce, "Araby" (1914)
• William Faulkner, "A Rose for Emily" (1930)
• J.D. Salinger, "The Laughing Man" (1949)
• Donald Barthelme, "Some of Us Had Been Threatening Our Friend Colby" (1987) and "The Baby" (1987)

Novel

• Rebecca West, The Return of the Soldier (1918)

Personal Narratives

• Frederick Douglass, Narrative of the Life of Frederick Douglas, an American Slave (1845)
• Joan Didion, "On Keeping a Notebook" (1966)
• Octavia Butler, "Positive Obsession" (1989) and "Furor Scribendi" (1989)

Poetry

• Benjamin Hertwig, Slow War (2017)

Drama

• Sophocles, Antigone (441 B.C.)

Assignments and Procedures:

Our main activity will be to practice the art of interpretation and close reading. Each student will be asked to deliver a short (five-minute) informal presentation: "Open the book, read something aloud, make an observation or formulate a question--discussion will follow." Our writing assignments will be based on a similar procedure, namely to let our writing flow up from our reading. Students will be expected to make notes in their books (underlining passages of interest or fascination, marking key images, collating scenes and pages, mapping internal relational patterns, and so on). Students will also write three short essays (one in class) based on close reading of a literary text. There will also be a final exam. Classroom conversation will be encouraged. Attendance will be taken.

Term 2
Tue Thu  9:30 AM - 11:00 AM

Focused around literary texts in their critical and theoretical contexts, ENGL 100 is a course in academic writing that fulfils the first-year component of the Faculty of Arts Writing Requirement.

In this section of English 100 we will study a selection of poetry from the Renaissance up to the present (see the provisional list below).  Since one purpose of the course is to introduce students to literature’s various critical approaches, we will also examine scholarly articles (available online) on some of the assigned poetry.  In both their proposal for the research essay and the essay itself, students will be expected not only to offer their own interpretations of a poem not discussed in class, but also to cite, demonstrate their familiarity with, and above all respond to a minimum number of secondary sources.  Ideally, then, this course will teach students the skills they need to write research essays in upper-level English courses.

Course requirements: two in-class essays (each worth 15%), proposal for research essay (15%), research essay (25%), final exam (30%)

Texts: The Broadview Introduction to Literature: Poetry, 2nd edition (Broadview); Reading and Writing about Literature: A Portable Guide, 5th edition (Bedford/St. Martin’s)

A provisional list of poems: Shakespeare, “Shall I compare thee to a summer’s day?”; John Donne, “The Flea”; William Blake, “The Chimney Sweeper”; Christina Rossetti, “Goblin Market”; W.B. Yeats, “The Second Coming”; T.S. Eliot, “The Love Song of J. Alfred Prufrock”; W.H. Auden, “Musée des Beaux Arts”; Adrienne Rich, “Aunt Jennifer’s Tigers”; Margaret Atwood, “Death of a Young Son by Drowning”; Jackie Kay, “In My Country”

Term 2
Tue Thu  11:00 AM - 12:30 PM

Writing Trans Resistance

Term 2
Tue Thu   12:30 PM- 2:00 PM

On First Reading

This course is an adventure. I have placed on the syllabus a novel, plays, poems, and scholarship that I have never read before. It is my presumption that we will all be reading these texts for the first time. These will be our questions: What do we need to know (in advance) in order to read a text? Do we need biography, history, theory, and scholarship to frame our encounter with these texts? With what feelings do we encounter a text for the first time? And how do we turn our feelings into literary analysis?

There are several short writing assignments and a final research paper. There is no final exam.

Term 2
Tue Thu  2:00 PM- 3:30 PM

Course description not yet available.

Term 1
Mon Wed Fri 3:00 PM - 4:00 PM

Focused on literary texts in their critical and theoretical contexts, ENGL 100 is a course in academic writing that fulfills the first-year component of the Faculty of Arts Writing Requirement.

This course offers an introduction to literary studies and the disciplines of academic reading and writing. In additional to the assigned texts, we will be reading essays and scholarly articles in order to introduce students to different critical approaches. This section’s theme is about American literature of the 20^th century, and we will consider how various texts attempt to grapple with such historical events as the aftermath of World War II, the Civil Rights movement, and the Cold War.

Texts:

Texts are likely to include John Berryman’s Dream Songs, Eugene O’Neill’s The Iceman Cometh, Raymond Chandler’s The Big Sleep, short fiction from Liberation Day by George Saunders, Toni Morrison’s The Bluest Eye, and Joan Didion’s Democracy.

Term 2
Mon Wed Fri 3:00 PM- 4:00 PM

Focused around literary texts in their critical and theoretical contexts, ENGL 100 is a course in academic writing that fulfills the first-year component of the Faculty of Arts Writing Requirement.

In this section of English 100 we will study a selection of poetry from the Renaissance up to the present (see the provisional list below).  Since one purpose of the course is to introduce students to literature’s various critical approaches, we will also examine scholarly articles (available online) on some of the assigned poetry.  In both their proposal for the research essay and the essay itself, students will be expected not only to offer their own interpretations of a poem not discussed in class, but also to cite, demonstrate their familiarity with, and above all respond to a minimum number of secondary sources.  Ideally, then, this course will teach students the skills they need to write research essays in upper-level English courses.

Course requirements:

• two in-class essays (each worth 15%)
• proposal for research essay (15%)
• research essay (25%)
• final exam (30%)

Texts:

• The Broadview Introduction to Literature: Poetry, 2nd edition (Broadview)
• Reading and Writing about Literature: A Portable Guide, 5th edition (Bedford/St. Martin’s)

A provisional list of poems: Shakespeare, “Shall I compare thee to a summer’s day?”; John Donne, “The Flea”; William Blake, “The Chimney Sweeper”; Christina Rossetti, “Goblin Market”; W.B. Yeats, “The Second Coming”; T.S. Eliot, “The Love Song of J. Alfred Prufrock”; W.H. Auden, “Musée des Beaux Arts”; Adrienne Rich, “Aunt Jennifer’s Tigers”; Margaret Atwood, “Death of a Young Son by Drowning”; Jackie Kay, “In My Country”

Term 1
Mon Wed Fri   9:00 AM - 10:00 AM

400 Years of Asking the Big Questions

There will be shipwrecks, magic, mad scientists, beast-people, a garden party, and his first ball. As we read stories of wrecks and disasters—structural, personal, and social— we will consider the significance of the ways these stories ask some of the big questions human beings have struggled with for centuries: What makes us human and not animal? What is human nature, and is it really natural? What about gender, race, and other kinds of difference? Who has power and why? Do we just reflect reality with the stories we tell ourselves, or are we actually creating reality? Along with substantial work on poetry, this section of English 110 will focus on one play, one novel, and a group of short stories that engage the different ways that people respond to circumstances that challenge what they thought was “natural” or “universal.” This course introduces students to the analytical skills and critical thinking essential to university-level literary reading, thinking and writing. In large lectures and 30-student Friday discussion groups, students pursue hands-on practice of methods of literary analysis.

Please note that this is not a course on writing (that’s ENGL 100 or WRDS 150): we’ll spend our time on fabulous literature rather than essay-writing technicals.

Want a head start this summer? Choose HG Wells’ short but creepy mad scientist novel, The Island of Dr. Moreau or Shakespeare’s classic shipwreck+magic play, The Tempest. You can see videos of different productions of Tempest for free through the UBC library or stream the great 2010 film, starring Helen Mirren and Djimon Hounsou (but take a pass on the really, really terrible Island of Dr Moreau movie, trust me!).

Term 1
Mon Wed Fri   10:00 AM - 11:00 AM

Imitation is at the heart of most works of literature. Even as critics and scholars celebrate authors’ originally, the truth is that all writers copy: They make allusions to other works of literature. They embed quotation in their works. They parody other writers and forms for satirical purposes. This particular section of ENGL 110 explores how a diverse range of US writers--poets, fiction writers, even rappers--find their original voices, paradoxically, by imitating earlier writers and genres. Students will explore how allusions--to both Broadway musicals and rap lyrics--inform the meaning of Lin-Manuel Miranda’s 2016 musical Hamilton. We will also consider how 20th-century African American poets parody Shakespeare and other poets in order to cultivate a distinctly African American poetic tradition. We will analyze how literal and literary inheritance are at the heart of the American novel. Finally, we will reflect on how artificial intelligence chatbots generate content through imitation.

Works will include:

• Hamilton: The Musical by Lin-Manuel Miranda
• Selected poems
• Nella Larsen’s Passing OR Winnifred Eaton Reeve’s Cattle

Term 1
Mon Wed Fri   12:00 PM - 1:00 PM

In relation: Identity, Inheritance, Survival, Love

The founding idea of western European and North American settler colonial versions of democracy is the primacy of the person (the self-identical subject, the distinctly human, the autonomous individual.) Yet societies considered globally offer many understandings of actual and ideal relationships between the thinking, feeling one and the gifts, obligations, and lived experience of the many. Even those European and Euro-American philosophers and poets who have longed for and celebrated the singular self-sufficient person have, inevitably, also uneasily acknowledged that people intrinsically and necessarily exist in relation to other people. Drawing on and considering works by Indigenous (Métis), Black (American), Vietnamese American, and Anglo-British authors, from the 19^th century to the present, we’ll focus on four specific and elaborate investigations of identities and persons in relation to others. We’ll consider the way these texts represent relations between identity and community in the context of war, colonization, enslavement, and the rise of western European science. We’ll ask questions such as: what is kinship, and what do these texts propose it could be? How do these texts, and how should we, understand the connections between family and political understandings of community? What does, and what might, community look like in the continuing wake of genocide? How are identities shaped by inheritance—and what does an individual owe to ancestors and to history? How has, and how can, writing, and the writer’s art, critique, repair, and build community? We’ll focus, especially, on considering these ideas in conjunction with our own understandings of identity in relation to family, kinship, community, and society.

Major texts:

• Thi Bui, The Best We Could Do (2017);
• Cherie Dimaline, The Marrow Thieves (2017);
• Toni Morrison, Beloved (1987);
• Mary Wollstonecraft Godwin Shelley, Frankenstein (1818)

Term 1
Mon Wed Fri   1:00 PM - 2:00 PM

The Body at the Border 

This course introduces students to methods for studying literature, media, and critical theory by focusing on the body’s relationship to borders. Through our engagement with North American cultural productions, students will develop skills essential to university-level reading, writing, and analysis by engaging contemporary North American cultural productions. We will focus on the relationships between race, gender, sexuality and narratives of migration within ongoing histories of imperialism and settler colonialism. The course uses the frameworks of literary theory, cultural studies, postcolonial theory, and diaspora studies in order to attend to formal and thematic components of cultural productions, and to put them in conversation with questions about borders and migration.

Term 1
Mon Wed Fri   2:00 PM - 3:00 PM

What can Literature do?: Counternarratives of the 21^st Century

Scientists use data—gathered through experimentation, for example, or measurement—to discover and interpret the world around them. What do literary scholars use? What kind of “data” is a graphic narrative, a novel, or a poem? And what can the study of literature tell us about how we interpret the world we live in? In particular, what might we learn from literature that we can’t learn by other means?

The texts on this course include local and global stories written in this century. They will show us contemporary lives lived in different corners of the world—for example, a Pakistani university student in New York, an Indigenous hockey player in Ontario. These are personal stories about public events, and they are the stories that have generally been less discovered, measured, or recorded. They reveal the sometimes invisible, even erased, narratives and lives that lurk behind the headlines or history books. They invite us to ask, who gets to speak and who may be silenced? What kind of knowledge does literature give us access to—and what should we do with that knowledge?

Texts: Possible texts include The Best We Could Do by Thi Bui, The Reluctant Fundamentalist by Mohsin Hamid, Indian Horse by Richard Wagamese, Injun by Jordan Abel.

Term 1
Tue Thu   11:00 AM - 12:30 PM

Fictions of the Queer Past

Us. The word glided through her mind like a leaf, or a stone, troubling the waters. Over the years, she’d encountered a range of women who could be seen as part of this us, whether they’d admit to it or not…but wasn’t joining the trip a kind of incrimination? Five, together. She’d never heard of such a thing. --Carolina de Robertis, Cantoras

Who and what is queer? What counts as queer history and queer historical fiction? Focusing on two recent novels about the queer 20th century (Carolina de Robertis’s Cantoras and Michael Nava’s Carved in Bone), and reading other short fiction and poetry, we will explore these questions and pursue the pleasures of critical reading and writing. By the end of this first-year writing course, students will have developed the tools to succeed in humanities courses.

Term 2
Mon Wed Fri   9:00 AM - 10:00 AM

Defining the Self

How do we define ourselves – as Canadians, as artists, as lovers, as survivors? These are some of the broad issues of identity and belonging we will explore through a selection of fiction, drama and poetry in this section of English 110.  We will consider ways in which individuals craft and perform the "selves" they wish to be, and the multiplicity of ways in which writers convey these identities through literary texts. To what extent do we control the person we become and to what extent are we shaped by our community? How meaningful are the concepts of ethnicity, gender and nationality in the creation of identity? How can a writer convey the complex and shifting nature of individual and group identity through the permanence of written discourse? Texts studied will include a novel (Homegoing by Yaa Gyasi), a play (The Rez Sisters by Tomson Highway), and a selection of short stories and poetry. In lectures and seminars, students will engage with concepts of genre and form in literature and will pursue hands-on practice of methods of literary analysis. Students will be encouraged to develop independent critical responses to the works studied. Assessment will include two in-class essays, a term paper and a final examination.

Term 2
Mon Wed Fri   11:00 AM - 12:00 PM

The course provides students with an understanding of relationships between literature and media. It further provides them with an understanding of literary genre, and of the ways in which different media function. There are modules on the electronic book, on the relationship between photography and narration, on information culture, on media history, on media metafictions, and on Indigenous media. In addition, the course encourages students in reading and writing strategies that will enhance their ability to communicate ideas effectively.

Term 2
Mon Wed Fri   12:00 PM - 1:00 PM

Literature for a Warming World

“People are suffering. People are dying. Entire ecosystems are collapsing. We are at the beginning of a mass extinction and all you can talk about is money and fairy tales of eternal economic growth.”  (Greta Thunberg, address to the United Nations General Assembly, 2019)

When we think about climate change, we may feel torn between concern for the fate of our planet and our desire for an unending supply of consumer goods. Depending on our politics, respect for scientific expertise, and ecological sensibility, we are likely to admire figures like Greta Thunberg or throw our lot in with her critics and plead the necessity of continued economic growth. Wherever our allegiances lie, we may wonder what potential worlds await us. In this course we will read a variety of literary representations of worlds altered by climate change. Readings will include a selection of poems and short stories, a novel (Catherynne M. Valente’s The Past is Red), and a graphic novel (Jacques Lob and Jean-Marc Rochette’s Snowpiercer: The Escape).

Term 2
Mon Wed Fri   1:00 PM- 2:00 PM

Fantastic Pasts and Science Futures: Speculative Fictions and Histories

Where have we been, and where are we going? Fantasy and Science Fiction – two of the genres that fit into the capacious mode of Speculative Fiction – have been at the centre of addressing these questions since the middle of the 20^th century.  This course is structured in two parts: first examining the history and development of the genre of Fantasy – from JRR Tolkien to GRR Martin and beyond – and its role in mediating the multiple pasts of western society, and second an introduction to the ever-moving genre of Science Fiction and its probing speculations about our future. We will read a range of novels and short stories – and watch some film and TV – both classics and lesser known works, as we examine the role of these two genres in the exploration of how literature reflects, shapes, and reshapes our sense of our past as a society, and poses questions as to our possible futures.

Please note that this is not a course on writing (that would be ENGL 100 or WRDS 150): we will spend our time on fantastic literature rather than essay-writing technical skills.

Term 2
Mon Wed Fri   2:00 PM - 3:00 PM

Strange Science, Ghosts, Robots, and Literary Theory

In this section of English 110, we will read literary texts depicting ghosts, artificial life, and strange science. The course will teach you to think and write critically about literature at the university level. It will also introduce you to contemporary literary theories. We will examine a range of approaches to the interpretation of literature, including psychoanalytical, Marxist, feminist, and postcolonial, and use the theories to analyze the literature we study.

Texts:

Texts read will include Mary Shelley’s Frankenstein, George Eliot’s “The Lifted Veil,” and Karel Čapek’s R.U.R. (Rossum’s Universal Robots).

Term 2
Tue Thu  9:30 AM - 11:00 AM

Modernism, Science, and the Environment

The early twentieth century was a period of rapid technological change, coupled with unprecedented experimentation by artists reflecting on the transformations around them. We will read novels, poems, plays, and short stories from this time period with an eye toward how scientific authority and technological power is imitated, placed on stage, interrogated, and parodied. Themes to include: scientific experimentation and the scientist as cultural figure, representations of race, gender, and sexuality, ideas of heredity and evolution, fears of technology and apocalyptic imaginaries, environmental degradation and foreshadowings of climate change, and the changing relationship to nature, nonhuman life, and historical memory. Readings from Virginia Woolf, Ralph Ellison, George Schuyler, Samuel Beckett, Jorge Luis Borges, and others.

Term 2
Tue Thu   11:00 AM - 12:30 PM

Literary Monsters and Monstrous Literature

Rey: “You are a monster.”
Kylo Ren: “Yes, I am.”
– Star Wars: The Last Jedi

“Deformed, unfinished, sent before my time into this breathing world” – Richard III 1.i

What is a monster? We know monsters from myths and legends, folktales, horror fiction and film. We know their variety: the grotesque, the beautiful, the terrifying, the pitiable, the sports of nature and the forces of evil. Dragons, werewolves, vampires, zombies, Frankenstein’s Creature, Dorian Gray, the Joker, Hannibal Lecter, Marisa Coulter, many of the characters in The Walking Dead or Game of Thrones: they’re everywhere, from under the bed to the house next door to the battlefield, and right into a great deal of literature. Which leaves us here: in this section of 110 we’ll focus on how literary texts across the genres use representations of monstrosity in ways that inspire both terror and horror, as well as (let’s be honest) fascination and even enjoyment.

We’ll look at William Shakespeare’s Richard III (a play that meditates on villainy and ambition in demonizing its subject for Tudor audiences, yet still fascinates contemporary ones) and at Ian McKellen’s 1995 film adaptation, which shifts the setting to an alternate-reality 1930s England where fascism takes hold. We will also consider various stage and screen adaptations as approaches to the play, including recent ones using race and gender-diverse casting, and casting as Richard actors who are themselves physically disabled or disfigured. Other core texts include two novels: Oscar Wilde’s The Picture of Dorian Gray, Shirley Jackson’s We Have Always Lived in the Castle, as well as selected poetry (with a focus on the sonnet form).

Evaluation will be based on two timed essays, a home paper, and a final exam, plus participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 2
Tue Thu  2:00 PM - 3:30 PM

This section of English 110 will introduce students to basic elements of university-level literary study by examining a wide range of works in three genres: poetry, prose fiction, and drama.  These works are of various literary eras and by authors from diverse cultural backgrounds.  Students will be taught methods of literary analysis that should enable them to read each work with care, appreciation, and (I hope) enjoyment.

• two in-class essays: 20% each
• home essay (1200 words): 30%
• final exam: 30%

 Provisional Reading List:

poetry by Elizabeth Bishop, Gwendolyn MacEwen, Michael Ondaatje, Jackie Kay, Hai-Dang Phan, and others (available online)

 short fiction by Kate Chopin, Anton Chekhov, Margaret Atwood, Kazuo Ishiguro, Chimamanda Ngozi Adichie, and others (available online)

Shakespeare, King Lear (Broadview) Samuel Beckett, Endgame (Grove)

Term 1
Mon Wed Fri   11:00 AM - 12:00 PM

Producing Consumable Texts: Exploring Representations of Food and Eating

With the popularity of The Food Network and social media, the pleasures of food have extended to consuming representations of eating and food production (e.g., foraging, harvesting, cooking). This course will explore diverse ways of communicating about food, including through personal essays, restaurant reviews, blog posts, recipes/cookbooks, food shows/documentaries, and Instagram reels. This course will consider each of these genres/media, considering how their forms help convey particular meanings in relation to food. For example, how do recipes instruct readers about a particular lifestyle or ethos tied up with certain kinds of food and preparation? How does a restaurant review provide both critique as well as vicarious enjoyment for the reader? How do visual elements, such as photographs and video, facilitate the consumption experience? The course will also consider how issues related to race, colonialism, gender, and social inequity can be subsumed in the eating process or brought to light through more disruptive eating and communicational practices.

Term 1
Tue Thu   9:30 AM - 11:00 AM

Rhetoric and Public Controversy

How does everyday language work to influence our thoughts and actions? This course delves into the realm of rhetoric – the motivation of belief and action, which encompasses not only overt techniques of persuasion and propaganda, but also the quotidian aspects of language and symbol usage that facilitate (or hinder) our daily lives and organize society. Students will analyze the rhetoric of contemporary public controversies, such as the politics of climate change, the public function of science, and whatever current controversies fill the headlines this semester.

Term 2
Mon Wed Fri  10:00 AM - 11:00 AM

Speaking Truth to Power: Social Representation and Reality

"My perception is as much a fact as the sun." --RW Emerson

How does writing depict reality differently from, say, photographs or speech?

One distinguishing feature of writing is definitiveness.  Writing began as engraving; to write has always meant to 'write down,' to inscribe and fix in an unchanging way, creating heretofore inconceivable notions of permanence, property, and quantitative linear accumulation.  By contrast, voice, like music, comes and goes with each performance; and images are indefinite; 'imagistic' means 'open to interpretation.'

Originally used for accounting, or "book-keeping," writing correlates reality with permanent and precise calculation and recording.  This correlation led not just to new economies but to whole religions "of the book" and to the legal codes upon which ever larger-scale human civilization has developed, eventually even marking its own geologic era, the "Anthropocene,” overlapping with the planet’s “sixth mass extinction event.”

Humanity’s future would seem to hinge less on the technological innovation we tend to celebrate, than on learning to acknowledge and communicate the reality of systemic environmental, racist, and misogynist violence--aka, capitalism, racism and patriarchy. The texts for this class all in various ways “speak truth to power” by writing "against the grain," attempting to acknowledge, in necessarily haunting and strange ways, what writing disregards, especially the voices of children, women, racial minorities, nomads and non-humans, as well as their voluntary allies, self-styled iconoclasts or 'modern barbarians.'

Required Texts (available at UBC bookstore):

Rebecca Solnit, Men Explain Things to Me
Cheryl Strayed, Wild
William Finnegan, Barbarian Days
Patrik Svensson, The Book of Eels

Term 2
Mon Wed Fri   2:00 PM - 3:00 PM

Course description not yet available.

Term 1
Mon Wed Fri   10:00 - 11:00

Im/Migration

Our shared approach to the course will centre on Im/Migration. Together we will examine texts and narratives about travel, mobility, migrations, journeys, departures and arrivals of various kinds--voluntary, forced, opportunistic, and fantastic. We will ask how literature can help us think about such questions as these: What types of social and political factors lead or force people to leave their place of origin? What does it mean to have a place of origin, and who has been entitled to claim one? How are borders established and what do they do? How does dislocation create new forms of being and belonging?

Term 1
Mon Wed Fri   1:00 PM- 2:00 PM

Hauntings and Spectral Possibilities in English Literary Studies

“It seemed, sir, a woman, tall and large, with thick and dark hair hanging long down her back. I know not what dress she had on: it was white and straight; but whether gown, sheet, or shroud, I cannot tell” (Charlotte Brontë, Jane Eyre). These sections of the collaboratively taught ENGL 200 (005, 006, and 007) will focus on haunting: the in/visible elements that bump, rattle, and wail in the night. We will examine a variety of literary texts, probing how ghosts and things that haunt productively unsettle the supposed status quo. Our conversations will include hauntings that challenge sanitized colonial narratives, the liminality of ghostly presences/absences, the ghosts of our futures, and the material repercussions of social and familial hauntings. Storytelling will also figure strongly in the course as we invite students to consider how they can leverage haunting as a critical framework for reconsidering the social, cultural, and national spaces they inhabit.

Term 2
Mon Wed Fri   11:00 - 12:00 PM

Creation, Destruction, Reflection, Rebuilding

This team-taught course examines how literature intersects with pivotal moments in the lives of individuals, collectives, and our planet. We will explore a range of literary texts across time that engage with ideas of making and unmaking. Our explorations might include an ancient poem about how the world was created, or texts that reflect on the destructive wars of the twentieth century. Sometimes we will encounter art forms that build themselves on the bones of other forms, that take old traditions apart in order to create new ones for their own time and place. Some of our texts might be celebratory, some apocalyptic; all of them show the power of literature to reflect the human experience in profound and unforgettable ways.

This course meets three times a week: Mondays and Fridays are for each section to meet with its designated instructor, while Wednesdays bring together several sections for one large lecture. These large lectures rotate through the course’s four instructors. The idea is to introduce you to some of the vast range of texts and approaches that constitute literary studies today, as well as to give you a taste of how different professors approach teaching and thinking about literary texts.

Through our class meetings, the large lectures, and a range of assignments, you will develop tools to approach diverse texts in ways that attend to their formal structure, content, and socio-historical contexts. You will hone your skills in close reading/ analysis in ways that support broader arguments about literature and culture. You will develop self-reflexive and critical awareness of your own reading methods, preferences, and biases, and you will understand the institutional contexts of literary studies.

List of texts and readings for this section of ENGL 200 will be posted here once determined.

Terms 1 - 2
Mon Wed Fri   2:00 PM - 3:00 PM

The Literary Imagination: Traditions and Counter-Traditions

A year-long (6 credit) course, English 210 is designed to provide Honours students with a firm grounding in English-language literary studies. Its organization is largely chronological, beginning in the medieval period and continuing to the present day. It aims to introduce students to a wide sampling of literary works of poetry, fiction, and drama across the centuries, and to equip them with the analytical tools employed in the scholarly study of these genres.

Although these texts – and their authors – engage a diverse variety of topics, in reading and writing about them we will also want to keep in mind such themes as art and imagination, memory and history, the individual in society and freedom and repression. While taking care to situate our readings in their historical and cultural contexts, we should also, where appropriate, allow ourselves to approach them with a sense of openness and humour.

Term 1
Mon Wed Fri   12:00 PM- 1:00 PM

This course focuses on selected English writers of poetry, drama, and prose from the late 14th to the 18th centuries.  The following literature will be studied: Sir Gawain and the Green Knight; Shakespeare’s King Lear; selections from John Milton’s Paradise Lost; Part 4 of Jonathan Swift’s Gulliver’s Travels; Jane Austen’s Mansfield Park.  Class discussion of each work will sometimes focus on its treatment of social, political, and economic issues of the period in which it was written: for instance, the alleged corruption of the late medieval Church and the questioning of conventional gender roles in the early modern period.

Course requirements: two quizzes (20% each); research essay, 1500 words (30%); final exam (30%)

Texts:

• Joseph Black et al., eds., The Broadview Anthology of British Literature, Concise Edition, Volume A (The Medieval Period, The Renaissance and the Early Seventeenth Century, The Restoration and the Eighteenth Century), Third Edition
• Jane Austen, Mansfield Park (Broadview)

Term 2
Tue Thu   9:30 AM - 11:00 AM

Pleasure, Tension, Contention: Literature in England before 1700

This course will provide a series of alternately sparkling and gritty snapshots that together will bring into focus the tensions among canonical traditions and alternate discourses of literary culture in England from the Medieval period to around 1700. This is a tasting menu, not a buffet. Texts are selected to offer a starting point on the vast expanse of content in the first few hundred years of English literary history, organized to lead us to a critical process of collaborative learning rather a high speed overview. We will consider a moderate number of selected readings around conflicts and continuities, both those occurring in the cultures of composition and those emerging subsequently in literary scholarship. At different times, we will interrogate textualizations of the emerging idea of the self, the representation and constitution and destabilizations of presumed-natural notions of gender and difference, the place of social issues and religion in art, the complexity of the English tradition in the much wider world, and the braided threads of love, art and sex.

Want a head start? Consider Middleton and Dekker’s 1611 gender-disruptive comedy The Roaring Girl about a famous female thief.

Term 2
Mon Wed Fri   3:00 PM - 4:00 PM

British Literature, Cultural Tradition, and Social Change

English 221 surveys British poetry, drama, fiction, and non-fictional prose from the 18^th century to the present. This section spans the upheaval of the Revolution in France (1789) to the War in Somalia (2009). We will read a rich array of texts from The Broadview Anthology of British Literature: Concise Volume B (3E) by writers ranging from Edmund Burke to Warsan Shire. By situating British literature in its historical contexts, we will analyze dynamic interrelationships between cultural tradition and social change, extending to the reinterpretations afforded by selected adaptations, documentaries, and performances. Throughout, students will cultivate skills in literary criticism through close engagement with texts as they also compare and contrast forms, issues, and styles within and across historical periods. The course requirements may include a midterm, an essay assignment, and a final examination.

Term 1
Mon Wed Fri   1:00 PM - 2:00 PM

Introduction to Canadian Literature (Land, Labour, and Literatures)

Office: Buchanan Tower 505
Office Hours: Mon, Wed, Fri 2:00-3:00PM (or by appointment)
Email: dallas.hunt@ubc.ca

Taking the period from early imperial contact and exploration, to Confederation, the turn of the century when Canada’s presence on the global stage began to be felt, through to the Great Wars, Modernism, Postmodernism and the present day, ENGL 222 examines selected features of Canada’s complex and diverse literary history in English. Our survey will interrogate the vibrancy of literary genre across time, comprising Canadian poetry and prose, fiction and non-fiction. In doing so, this course will consider the literary, geographic, political, historical, racial, economic and social processes that have facilitated the contexts and content of authorship and text in Canada. What do these literary forms tell us about “Canada,” and what is set into motion by the interaction of this modifier with “literature”? What does Canadian literature tell “us” about the form of the nation and its citizens in the present day? What does a study of literature have to do with answering questions about nationhood, identity, community, and citizenship? Why does it matter? In attempting to answer these (and other) questions, we will remain committed to the complexities of audience and reception, genre, authorship, and the future of Canada. We will consider not only what it means to tell a story about Canada, who tells it, and how the story is told, laterally connected, and distinct, but who is meant to hear the story, and when.

Term 2
Mon Wed Fri   10:00 AM - 11:00 AM

What if… ? Speculative Literatures in Canada (where ‘Eh’ is for Apocalypse)

“The apocalyptic images are not just alarmist rhetoric: by pretty clear scientific consensus, there is ample reason to be afraid...”— Catriona Sandilands, Storying Climate Change

“We can’t possibly live otherwise until we first imagine otherwise”—Daniel Heath Justice (Cherokee Nation), Why Indigenous Literatures Matter

What if global warming causes a pandemic of dreamlessness and a future where Indigenous peoples are hunted for a cure reportedly found in their bone marrow? What if scientists genetically re-engineered humanity to better survive climate apocalypse? What if geronticide emerged as a popular solution to intergenerational conflicts over economic inequality? What if cyborgs wrote poetry? What if a child’s emotional distress resulted in transmogrification into a giant red panda? What if... what if... what if…

Speculative literature—an umbrella category or “supergenre” associated with genres like science fiction, dystopia, fantasy, and horror—is storytelling of the what if. It alters or extends (often into uncomfortable places) the conditions of the world as we know it in order to consider what might be, and in doing so invariably returns us to what has been and is, to the present that prompts such creative acts of speculation. Focusing its exploration of Canadian literatures through the genres of speculative fiction, this course will examine some of the big “what ifs” being asked by Canadian and Indigenous storytellers today. We’ll read stories about climate apocalypse and the end of the world, about the horrors of colonial history and dystopian neocolonial futures, and about monstrous bodies and posthuman figures, and we’ll consider how such fantastic fictions function to comment on our realities. Indeed, while apocalypse and dystopia have long been spaces for writers to play out the potentially perilous futures of society’s present conditions—a tradition contemporary “cli-fi” continues in response to the very real horror of climate catastrophe—for many marginalized by those conditions, apocalypse and dystopia are not simply imaginative spaces. By exploring a diverse selection of texts and authors, we will thus attend to some of the different ways writers and artists in Canada are employing the fantastic to develop a cultural politics from speculative interventions into both troubling pasts and challenges of the present. We will consider questions such as: what are the powers, possibilities, and limits of speculative genres? How does genre function differently for different writers/audiences in different contexts? What are the hopes, fears, and political imaginaries of the worlds Canadian speculative storytelling brings into being? And how does the “what if?” help us to “imagine otherwise”?

The readings and viewings will comprise novels, films, short stories, and poems in several (sometimes overlapping) SF genres—climate fiction (“cli-fi”), (post-)apocalyptic, dystopia/utopia, horror, alternate history, sci-fi, Afro- and Indigenous futurism, and urban fantasy. Primary texts will likely be selected from works by Margaret Atwood, Lindsay B-e, Jeff Barnaby, Wayde Compton, Cherie Dimaline, Hiromi Goto, Lisa Jackson, Doretta Lau, and Domee Shi.

Term 2
Mon Wed Fri   11:00 AM - 12:00 PM

This course offers a focused introduction to Literature in the United States. We will read a selection of stories, novels, plays, poems, personal narratives, and "special cases": "It has rightly been said that all great works of literature establish a genre or dissolve  one--that they are, in other words, special cases" (Walter Benjamin, "On the Image of Proust," 1927). Our themes will include the legacy of Puritanism and the American revolution; the history of slavery and "race;" the social divisions of gender, class, and labor; the romance of the American dream and its "obverse reflections" (Faulkner) in some versions of American gothic; narrative experiments and modernist form; the pastoral domain and the waste land; and others.

Readings may include the following:

Short Stories

• J.D. Salinger, "Uncle Wiggily in Connecticut" (1948)
• Herman Melville, "Bartleby, the Scrivener" (1853)
• William Faulkner, "Dry September" (1931)
• Nathaniel Hawthorne, "The May-Pole of Merry Mount" (1836)
• Edgar Allan Poe, "The Oval Portrait" (1842)
• Kate Chopin, "Desirée's Baby" (1893)

Special Cases

• Joan Didion, "Some Dreamers of the Golden Dream" (1966)
• Ernest Hemingway, In Our Time (1925)
• Ta-Nehesi Coates, Between the World and Me (2015)
• Thomas Jefferson et al., "The Declaration of Independence" (1776)

Novel

• Cormac McCarthy, The Road (2006)

Poetry

• T.S. Eliot, The Waste Land (1922)

Drama

• Lorraine Hansberry, A Raisin in the Sun (1959)

Assignments and Procedures:

Our main activity will be to practice the art of interpretation and close reading. Each student will be asked to deliver a short (five-minute) informal presentation: "Open the book, read something aloud, make an observation or formulate a question--discussion will follow." Our writing assignments will be based on a similar procedure, namely to let our writing flow up from our reading. Students will be expected to make notes in their books (underlining passages of interest or fascination, marking key images, collating scenes and pages, mapping internal relational patterns, and so on). Students will also write three short essays (one in class) based on close reading of a literary text. There will also be a final exam. Classroom conversation will be encouraged. Attendance will be taken.

Term 1
Mon Wed Fri   9:00 AM - 10:00 AM

An Introduction to African Writing

“One must look at the world from Africa to be an African writer,
not look upon Africa from the world” (Nadine Gordimer)

Africa is a fascinatingly diverse and complex continent, and its writing–although a relatively recent development–reflects this diversity. This section of English 224 will provide an introduction to African literature through the study of a range of novels and short stories. These works reflect a range of styles and thematic concerns, and are drawn from west, south, east and north Africa.

Course texts: Course texts will include Chinua Achebe’s Things Fall Apart, Miriama Ba, So Long a Letter, NoViolet Bulawayo’s We Need New Names, Zakes Mda’s Ways of Dying and Twenty Years of the Caine Prize for African Writing (a short story anthology).

Term 1
Mon Wed Fri  10:00 AM - 11:00 AM

In this section of English 225 our goal is to study a broad range of poetry written in English.  We will not proceed chronologically but will examine poems of various historical eras, from the Renaissance to the early twenty-first century.  Though we may occasionally consider a poem’s historical context our primary focus will be on its literary elements: form, figurative language, and so on.  Rather than study several poems by a few poets we will probably study a single poem by several, including Emily Dickinson, Langston Hughes, Gwendolyn MacEwen, Michael Ondaatje, and Jackie Kay.  “I, too, dislike it,” writes Marianne Moore of poetry in a famous poem entitled ... “Poetry.”  If you don’t already like “it,” I hope you will by the end of the course.

Text: The Broadview Introduction to Literature: Poetry, 2nd edition (Broadview)

Course requirements: two in-class essays (20% each), research essay, 1500 words (30%), final exam (30%)

Term 2
Tue Thu  9:30 AM - 11:00 AM

Course description not yet available.

Term 1
Tue Thu   2:00 PM - 3:30 PM

The Twentieth-Century African-American Novel

A study of the African-American novelist, concentrated on great works of the second half of the twentieth century and addressing the titanic struggles for civil rights, broader freedoms, and equality in gender and sexuality.

Texts to be read include: Ralph Ellison, Invisible Man (1952); James Baldwin, Another Country (1962); Toni Morrison, Sula (1973); Gayl Jones, Corregidora (1975); Charles Johnson, Middle Passage (1990).

Evaluation: Two five-page close-reading essays, a final exam, and regular participation comprise the core of evaluation.

Term 2
Mon Wed Fri   3:00 PM- 4:00 PM

Course description not yet available.

Term 1
Tue Thu   3:30 PM- 5:00 PM

Introduction to Cognitive Linguistics

Is a taco a sandwich? What about a hot dog? These questions may lead to a fun debate over dinner, but they also reveal the remarkable nature of the structure of mental categories (such as “sandwich”) and how we decide what does – or doesn’t – belong. In this course, we won’t be able to answer these questions, but we will be able to learn why they are so tricky to answer. To do so, we will explore the field of cognitive linguistics, which is the study of how language and cognition work together to create meaning. Fundamentally, our language is a reflection of how we understand the world around us, as humans living in physical bodies, experiencing the properties of our environment, and engaging in constant social interaction. Therefore, to understand how language works, we must also understand how other cognitive processes work, such as categorization, perception, and mental representations of concepts.

We will begin with learning about how we categorize, organize, reason about, and ultimately linguistically label concepts. This structure provides the basis of understanding how figurative language works, with a focus on metaphor and metonymy. We will then see how these same cognitive tools allow words to acquire multiple meanings (polysemy), and how concepts, words, and grammar all work together to create meaning. Finally, we will consider how our newly acquired understanding of language can be applied to other areas of life, such as politics, advertising, and healthcare. Throughout we will study language in all its forms, including written, spoken, and signed language; gesture; and image.

By the end of the course, students will be able to:

• Identify and understand basic concepts in cognitive linguistics
• Understand the roles of physical, psychological, and sociocultural context in linguistic meaning
• Analyze the linguistic and conceptual structure of a variety of texts
• Apply concepts from cognitive linguistics to other topics and disciplines

The main texts are Cognitive Linguistics: An Introduction (2006), by Vyvyan Evans and Melanie Green and An Introduction to Cognitive Linguistics (2006), by Friedrich Ungerer and Hans-Jorg Schmid.

There is no need to purchase anything; all assigned readings will be available online via the UBC Library website.

Term 2
Tue Thu   12:30 PM - 2:00 PM

In this course we’ll reflect about Canadian English, defined as any variety of English spoken and used in Canada. We will distinguish between Standard Canadian English, review the state of our knowledge about it, and other forms of English used in Canada, with a focus on Indigenous Englishes. We will approach Canadian English from sociolinguistic and sociohistorical perspectives: How did it come about? Who decided when that it was its own variety? Why is it the way it is? Is it a colonial form of English? Why do some not know much about it (perhaps you)? Bring a curious and open mind.

Note, this course will be conducted EXCLUSIVELY online

Term 2
Tue Thu  11:00 AM - 12:30 PM

Course description not yet available.

Term 1
Mon Wed Fri   11:00 AM - 12:00 PM

This course, designed specifically for students in the Bachelor of Media Studies program, provides foundational understanding of four major approaches to media studies (historical; theoretical; environmental; social justice). The outcomes of the course will enable students to negotiate media in terms of their theoretical foundations and distinguish critically the different effects produced by different media, with broad application in and beyond the study of media.

Term 1
Mon Wed Fri   9:00 AM - 10:00 AM

Something in the Shadows is Watching

“You are always in danger in the forest, where no people are.” -- Angela Carter, “The Company of Wolves”

From The Turn of the Screw to The Others, creepy children frequently haunt Gothic texts. But what of Gothic texts assuming a young audience? Children’s/YA literature so often focuses on successful (or not so successful) negotiation of threats and learning opportunities in the intimate and public worlds around the child that “children’s” tales are often scarier than adult fiction. In this section, we will study a variety of texts through a literary/cultural studies lens, exploring their (sometimes) evolving genre features. We’ll start with familiar (and not-so-familiar) oral-tradition folk and fairy tales, to consider how their recurring devices establish tropes still frequently recurring. Then we will stray from the path and consider how a selection of novels might challenge or subvert perceived boundaries and conventions, especially in engaging with Gothic themes and motifs, ending with a graphic novel examining adolescent engagement with 1990s Goth culture.

We will also discover approaches to children’s/YA texts in literary/cultural studies at the university level.

Texts:

Core texts tentatively include a selection of traditional folk and fairy tales; Alan Garner, The Owl Service; Francesca Lia Block, The Rose and The Beast; Neil Gaiman, Coraline; and Mariko Tamaki and Jillian Tamaki, Skim.

Evaluation:

Evaluation will tentatively be based on a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 2
Mon Wed Fri   10:00 AM - 11:00 AM

Regulating and Claiming Desire: (Re)Constructions of Gender and Sexuality in Children’s and YA Literature

“All children, except one, grow up” (Barrie, Peter Pan)

This course will introduce key shifts and tensions within children’s and young adult literature centring on representations and explorations of (primarily female) gender and emerging (often channelled) sexuality. We will begin by examining classic fairy tales, bringing them into conversation with modern Disney revisioning of them, before shifting to Victorian perceptions of childhood and the passage to adulthood. From there, we will examine evolving portrayals of puberty and sexual desire in the 1970s (e.g., Are You There God? It’s Me, Margaret) before moving on to more contemporary texts that offer both conservative (e.g., Twilight) as well as expansive and intersectional notions of adolescent gender, sexuality, and embodiment. The relationality facilitated by new technologies and shifting media landscapes will be treated at the end of the course. Questions of genre (e.g., fantasy, parable, realism, dystopian, romance) will also be considered in relation to youthful desire and its production/consumption/regulation.

Term 2
Tue Thu  2:00 PM - 3:30 PM

Synthetic Humans; Posthuman Dystopias

“We make Angels. In the service of Civilization. There were bad angels once … I make good angels now.”
– Niander Wallace, Blade Runner 2049

“Whole generations of disposable people.”– Guinan, “The Measure of a Man”, Star Trek: The Next Generation (season 2)

The near-future and alternate-reality landscapes of science fiction are often terrifying places and have been since Gothic and dystopian impulses intersected in Mary Shelley’s Frankenstein. Shelley’s landmark tale evokes dread in the implications of Victor’s generation of a humanoid Creature; this dread echoes in more recent products or accidents of science: clones, robots and replicants, artificial intelligences, cyborgs. Such texts raise issues of gendered exploitation, consciousness and rights, research ethics, and fear, in the realization that these creatures are, ultimately, not human but posthuman, yet often more sympathetic than their makers. However, despite their apparent superiority, such humanoids tend to be defined as commodities. In this course, we will consider the posthuman element of dystopian speculations reflecting on the present and recent past, especially concerning threats of mass surveillance, profit-motivated technology, environmental crisis, and redefinitions of human identity.

Core texts tentatively include William Gibson, Neuromancer; Lana Wachowski and Lilly Wachowski, The Matrix: Shooting Script; Kazuo Ishiguro, Never Let Me Go; Blade Runner 2049 (dir. Denis Villeneuve) plus one other film (or shooting script) and/or one other novel.

Evaluation will tentatively be based on a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 1
Mon Wed Fri   11:00 AM - 12:00 PM

Course description not yet available.

Term 1
Tue Thu   11:00 AM - 12:30 PM

Comics and Graphic Media

This course is an introduction to comics and other graphic media. In it, we will study some of the major forms--super-hero comics, nonfiction, science fiction, memoirs, and manga--with the goal of developing close reading practices that enrich our understanding of how texts and images work together. Although this course will emphasize longer narratives published after 1980, may make some brief excursions into earlier texts and short forms--comic strips, picture books, and graffiti. The reading list hasn’t been finalized yet, but will likely include selections from Tomie by Junzi Ito; Understanding Comics by Scott McCloud; Batman: Year One by Frank Miller and David Mazzucchelli; Persepolis: The Story of a Childhood by Marjane Satrapi.

Term 2
Tue Thu  11:00 AM - 12:30 PM

Course description not yet available.

Term 2
Tue Thu  12:30 PM- 2:00 PM

On Literature on Screen

This course will seek to change conversations on book-to-screen adaptations by asking not boring questions of fidelity (is it the same as the book? Yes/no. I love/hate that), but rather, what is significant about the way that stories get told and retold on page and screen. We’ll get the critical and theoretical tools we need to go far beyond those YouTube best/worst/coolest conversations and to level up into the ideological, political or cultural work that gets done, sometimes almost invisibly, by putting on screen a new or old story we think we already know. This course will lean in to literary and critical methodologies more than cinematography and film studies (there’s a different department for that!), and we will spend multiple weeks on each text/film adaptive relationship and what it can tell us. Want to get ahead this summer or on December break? The preliminary reading list focuses around three stories about creating and navigating life: Frankenstein (Karloff v DeNiro); Pride and Prejudice (with Lizzie Bennet Diaries + Bride and Prejudice); and Life of Pi plus a sci-fi short story or two…

Term 2
Mon Wed Fri   12:00 PM - 1:00 PM

On Television

This course takes up television (specifically, North American television) as an object of investigation and a subject for criticism. We will approach television by watching it as well as by reading literary, historical, and critical writing about it. Treatments of television are often characterized by sexual fantasy, political anxiety, intense excitement and contempt, and highly reflexive irony. We will try to understand why television is so provocative, why it has been so difficult to understand, and how we may develop tools and techniques to approach it critically. Warning: some of the materials for reading and viewing in this course feature strong language, sexuality, and violence. Viewer discretion is advised.

The learning objectives of this course include:

• familiarize students with the history of network television in the United States
• introduce students to formal vocabulary to describe televisual experience
• communicate to students tools for critical thinking and writing about television

The course format will combine lectures, discussion, and group work.

Term 2
Mon Wed Fri   2:00 PM - 3:00 PM

Genres of Detection

This course surveys the major developments in detective fiction from the mid-nineteenth-century to the present. It covers the major genres of detection including the classic mystery, “hard-boiled,” “noir,” and police procedural and features most of the major authors of the field such as Poe, Christie, Doyle, Hammett, Chandler, Hughes, Grafton, Peretsky, Simenon, Rankin, and Robinson. The course will focus mainly on short stories so that we can consider as wide a range of styles and approaches to detection as possible. But we will also read some longer and recently published novels in order to see how detective fiction engages in depth the challenging issues of its time, including gender violence and persistent colonialism.

Evaluation:

• In-class participation (10%)
• Weekly online discussion posts (20%)
• Writing Assignment (30%)
• Mid-term and final exams (40%)

Texts (subject to change):

• Mansfield-Kelley and Marchino (eds), The Longman Anthology of Detective Fiction (2005)
• Hughes, In a Lonely Place (1947) + film, dir. Nicholas Ray (1950)
• King, Dreadfulwater (2002)
• Braithwaite, My Sister the Serial Killer (2019)

Term 2
Tue Thu 11:00 AM - 12:30 PM

Everything, Everywhere: The Timespace of Racial Capitalism

Analysis of theoretical methods and critical approaches practiced in the discipline of English studies. Required of all students in the English Honours Literature and Language and Literature programs. For ENGL courses at the 200- or 300- level, prior completion of at least one 100- level ENGL course is recommended.

This course focuses on the theories, histories, and philosophies of racial capitalism from its origins, with particular emphasis on its functions in the contemporary moment. This course ranges across different disciplines and regions to survey how race and capitalism have been conjoined both theoretically and materially. Some themes we will explore over the course of the semester include: information capitalism, neoliberalism, ghost labor, borders/ migration, carcerality, (in)debt(edness), anti-capitalism and the popular, the Anthropocene, and so forth. We will particularly be interested in how those social formations correspond and diverge. This course takes a heterogenous and expansive definition of theory; as such, we will engage with myriad forms of texts including music, video games, poetry, performance art, visual art, film, and so forth.

Term 1
Mon Wed Fri   12:00 PM - 1:00 PM
Note: Blended Course

Technical Writing examines the rhetorical genre of professional and technical communication, especially online, through analysis and application of its principles and practices. You will produce a formal report, investigating resources and/or concerns in a real-life community, as a major project involving a series of linked assignments. This project will involve the study (and possibly practical application) of research ethics where human subjects are involved (e.g. in conducting surveys or interviews). Evaluation will be based on a series of four linked assignments culminating in the formal report, as well as participation in discussion and completion of various textbook exercises.

Think of this course as an extended report-writing Boot Camp: intensive, useful preparation for the last phase of your undergraduate degree, as you start applying to professional and graduate programs, and for the years beyond of work and community involvement. Technical Writing is closed to first- and second-year students in Arts and cannot be used for credit towards the English Major or Minor.

Text: The course text will be Lannon et al, Technical Communications, 8th Canadian Edition, Pearson, 2020.

Please note that this is a blended course and will require both participation in synchronous lectures and workshops as well as asynchronous but scheduled independent work of the sort done in a conventional online course (e.g. weekly Canvas-based textbook exercises and occasional peer feedback on drafts).

Also note that while 301 is not a course in remedial grammar, this section will provide online Canvas-based writing resources and workshops designed to help identify writing and proofreading problems, and to provide strategies to address them.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 2
Mon Wed Fri   11:00 - 12:00

To study the rhetoric of science, technology, and medicine is to study both the rhetorical effects of these domains on the world and the rhetorical processes by which these domains are rendered distinguishable, authoritative, and even essential to our survival. In this class, we will situate our study in the context of gender and specifically transgender experience. Regardless of our own gender identities and expressions, we all exist in relation to discourses, industries, and policies that are deeply gendered. From surgical medicine to airport security to the video game industry, our lives are tightly regulated by unspoken assumptions about gender: who can choose it, who can change it, and why it matters. These issues are particularly important to trans and gender nonconforming people who often face obstacles accessing the care and services they need to survive. Even as many scientists, tech developers, and medical practitioners work to be more gender-inclusive, it is becoming apparent that their inclusivity is often limited to people who are white, financially secure, and nondisabled. As we will discover this term, studying the (trans)gendered rhetoric of science, technology, and medicine is not only to make a value judgement on a person's or institution's progressivism but also to evaluate these rhetorics' material effects on trans people’s lives, especially on those who exist at the margins of trans community.

The semester will be divided into two sections. The first half will be methodological and historical, introducing a range of rhetorical approaches to science, technology, and medicine, as well as exposing the (trans)gendered history of each of these domains’ development. We will focus especially on the insights and perspectives of trans, gender nonconforming, and otherwise gender minoritized people. While not all of these scholars are rhetoricians by training, each of them offers important insights on how techno-science and medicine have been rhetorically designed to regulate gender norms. The second half of the course will center trans and gender nonconforming people’s counter-rhetorics that trouble the authority of the medical industrial complex and the profit-driven motivations of the tech industry. These counter-rhetorics reimagine trans life in ways that are both gender-affirming and community-oriented. Throughout the second half of the course, students will collaborate on a service-learning project that addresses some of the health needs of the trans community at UBC.

Term 1
Tue Thu   12:30 PM - 2:00 PM

What is rhetoric, and how do persuasion and influence work? How you can persuade your friends, family, colleagues, and strangers? Some of the most infamous historical intellectuals vehemently disagree about the answers to these questions, but taken together, their answers provide a blueprint for rhetorical theory. By reading and applying rhetorical theories advanced by important thinkers in major epochs of world history, students will learn about how rhetoric was supposed to function in ancient Egypt, ancient Greece, ancient China, the Roman Empire, medieval Arabia, and elsewhere, as well as how these theories still function (or not) today.

Term 1
Mon Wed Fri   9:00 AM - 10:00 AM

Course description not yet available.

Term 1
Tue Thu   2:00 PM - 3:30 PM

Course description not yet available.

Term 2, Mon Wed Fri   12:00 PM - 1:00 PM

Course description not yet available.

Term 1
ONLINE ASYNCHRONOUS

The fully online English 321 course offers an introduction to English grammar and its use in everyday communication. We take a descriptive stance when considering the rules of grammar and language variation, starting with the study of words and their parts, proceeding to word classes, phrases and clauses, and concluding with the different communicative functions that grammatical structures can perform when we package information in particular ways. This course equips students with skills for identifying and describing the effects of derived structures in various communicative situations. It provides a strong basis for further study of the English language, language variation, literary and non-literary stylistics and for teaching English.

The course includes numerous graded exercises analyzing sentences and chunks of discourse. A non-graded discussion forum for language questions is conducted throughout the term. There are four short collaborative assignments, two mid-term tests and one final test.

Distribution of grades:

• Exercises: 20%
• Collaborative assignments: 20%
• Test 1: 20%
• Test 2: 20%
• Test 3: 20%

The prescribed books are:

• Börjars, Kersti & Kate Burridge. Introducing English Grammar, 3^rd edition. Routledge, 2019.
• Leech, Geoffrey, Margaret Deuchar and Robert Hoogenraad. English Grammar for Today: A New Introduction. 2^nd ed. Palgrave Macmillan, 2006.

More details are available on the course website on canvas.ubc.ca.

Term 2
ONLINE ASYNCHRONOUS

This fully online course is an introduction to stylistics, the study of style in language. Although stylistics includes literary and non-literary communication, in this course we make a close study of selected examples from each of the three main literary genres. An important aim of this course is to provide students with an understanding of stylistic tools that have been developed since the 1960s to the present. The course both accounts for the main linguistic concepts applied in stylistics and guides students towards applying their knowledge of language and linguistics when describing the style of communication in any text. Consequently, students have strong evidence for interpreting the literary message and can do so with greater insight and accuracy.

Students complete graded and self-testing exercises in which they practice applying the techniques of stylistic analysis to a range of non-literary and literary examples. They participate in two collaborative workshops, the first requiring the stylistic analysis of a poem and the second describing the effect of language use in dramatic dialogue. In the term paper, students provide a guided stylistic analysis of a short story with reference to findings about the author’s style in recent corpus stylistics research. The final exam is an online quiz covering all the material studied during the course.

Distribution of grades:

• Term paper: 30%
• Collaborative Workshop 1: 20%
• Collaborative Workshop 2: 10%
• Graded exercises: 20%
• Discussion forum: 5%
• Final Exam: 15%
  

Prescribed reading:

• Short, Mick. Exploring the language of poems, plays and prose. Longman, 1996.
• Simpson, Paul. Stylistics: A Resource Book for Students, 2^nd ed. Routledge, 2014.

More details are available on the course website on canvas.ubc.ca.

Term 2
Tue Thu  2:00 PM - 3:30 PM

How many Englishes are there? What’s English anyway? What is Canadian English? What is Pidgin English? Is it “different from” or “different than”, “toque”, “hat” or “beanie”? In this class we take a close, conceptual look at linguistic variation in English, to be precise: in Englishes. Beginning with a classic model, we’ll read and discuss texts that model variation in L1, L2 and Lingua Franca Englishes, World Englishes and Global Englishes. We will write short reflection pieces on some texts that will prepare us for a mini in-class conference with friendly feedback and an ensuing term paper on a variety of English of your choice (from a curated list).

Term 1
Tue Thu   12:30 PM - 2:00 PM

Cognitive Poetics

Term 2
Mon Wed Fri   2:00 PM - 3:00 PM

This class focuses on “everyday metaphors”: the figurative language that we use all the time, over the course of casual conversations and throughout our lives, often without even realizing it. While we may think our colloquial use of language is mostly literal, we rely on metaphors to talk about all sorts of ideas and situations. For example, we may talk about “fighting” crime, “waging war” on a pandemic, or “battling” poverty. In all these cases, we are describing one type of concept - a serious societal challenge - in terms of another concept, physical combat. But what does it mean to describe a pandemic as a “war”, versus a “wildfire” or a “journey”? Not only are these types of patterns pervasive throughout our language use, they also influence how we understand these concepts.

In this course, you will learn how to identify and analyze figurative language in a variety of texts and media, and also consider the persuasive role of metaphor as a cognitive phenomenon. In the first part of the course, we will learn about various types of figurative language (metaphor, metonymy, blending). In the second part, we will apply these theoretical concepts to a range of genres, from health care to poetry. We will also consider the role of figurative language beyond the written and spoken word, such as gesture, memes, and other forms of multimodality.

By the end of the course, students will be able to:

• Identify and analyse figurative language in a variety of texts, genres, and media
• Understand and apply core concepts in cognitive linguistics, including metaphor theory and frame semantics
• Read and comprehend scholarly articles in the field of metaphor studies
• Develop an original metaphor analysis and present it in spoken and written form
• Engage in critical academic discussion with both peers and scholarly literature

Required textbook: 

Dancygier, Barbara, and Eve Sweetser. Figurative Language. Cambridge University Press, 2014.

Term 2
Mon Wed  3:30 PM - 5:00 PM

This course explores and examines contemporary English phonology, morphology and lexical semantics. It begins with the study of speech sounds in English. We apply methods for phonetic transcription and study distinct sounds and possible sound combinations in English (phonology). We study the processes of word formation and word classification in English (morphology). We also study word meaning (lexical semantics) using a variety of approaches.

Upon completion of this course, students will:

• understand the English sound system, including sounds that are used in speech production and the rules and patterns governing their use;
• understand the rules of English word formation and grammatical modification;
• understand different approaches to representing and analyzing lexical meaning;
• demonstrate the ability to formally or diagrammatically represent this knowledge;
• appreciate the nuances of meaning in human language and the conceptual system underlying it.

Required textbook:

Brinton, Laurel J., and Donna M. Brinton. The Linguistic Structure of Modern English. John Benjamins, 2010.

Term 1
Tue Thu 11:00 AM - 12:30 PM
ONLINE SYNCHRONOUS

Welcome to this key course for any English major, minor and/or language enthusiast! Do *not* opt out of this course even if you can, just give it a try! Often considered the “tough” stuff of English that everyone wishes they knew, but few actually do, let’s together unlock the beauty of syntactic analysis. Let’s ask questions, let’s try out what the best (or “least bad”) classification for a given structure is. Use this knowledge of English syntax to teach, to sharpen up your own writing, or just to show off your grammatical prowess when you need to do so. Use the knowledge for any of your other languages (and learn to adapt it to these). No prior grammatical knowledge is required. Everyone welcome.

Note, this course will be conducted EXCLUSIVELY online.

Term 1
Tue Thu   2:00 PM - 3:30 PM

On the (pre-)history of television

This course explores the long history and prehistory of television. As technology, television emerged quite slowly from experiments with nineteenth-century technologies (such as telegraphy and phototelegraphy) that reproduce and transmit visual and sound images across space and time. As an institution and medium, television developed out of radio (in the 1930s) to become a standard feature in homes after the 1940s in North America and elsewhere. Even a brief glance at television, as both technology and as institution, quickly opens out onto larger social, political, and cultural histories.

This course approaches these broader histories by reading literature and thinking across media forms. Writing and print, themselves mediums, compete and collaborate with newer media that pertain to writing (based on -graphy technologies). By paying close attention to writing and poetics (ideas about how writing works), we will explore perceptual regimes that accompany new technologies, the media institutions that capture them, and the discourses by which they are understood. Note: our geographical focus will mostly, but not exclusively, be the United States.

This course will be taught as a mix of lecture and discussion. We will read literary, critical, and theoretical texts, watch television, view films, and listen to radio as we seek to gain a deep historical sense of the medium. Our learning objectives include:

• to familiarize students with broader histories of television and its emergence from 19th- and early 20th-century technologies and institutions
• to introduce students to literary tools for approaching media history
• to broaden media literacy by helping students to think and write critically about television and other media

Term 2
ONLINE ASYNCHRONOUS

Media ecologies, 1650 to the present

Although the phrase “media ecology” was coined by education professor Neil Postman in 1970, this course takes its title and its focus from My Mother was a Computer: Digital Subjects and Literary Texts, published by literature scholar and media theorist N. Katherine Hayles in 2005. Commenting on the rise of the commercial Internet at the turn of the millennium, and its effects on existing technologies such as the printed book and analog film, Hayles wrote that “media can converge into digitality and simultaneously diverge into a robust media ecology in which new media represent and are represented in old media” (32, emphasis in original). Hayles here criticizes more conventional models of media history, which tend to explain the coming and spread of new (most recently digital) media forms using competition and predation analogies in which one kind of media form absorbs and defeats the others. These models yield in Hayles’s telling to a model of “coevolution” that focuses on relationships, encounters, and exchanges between media forms (32). In Hayles’s analysis, the word “media” refers to technologies, means of and devices for storing and conveying information and experience. This course builds on Hayles’s emphases on coexistence and coevolution while also examining the history of the idea of “media” and “mediation” itself, from the early modern period to the present. The course is organized comparatively, bringing digital and print media forms into conversation, and its learning design and assessments draw on comparative modes of inquiry. The course combines theoretical and historical reading and investigation with hands-on, project-based learning. You will investigate the historical development of knowledge technologies, broadly understood, explore their practical use, consider what it means to inquire into the experiences and lives of those who have worked with and used them, and use digital and analog media to organize and explain your findings. You will also engage with media ecologies in a second sense, considering the relationship between media, their material qualities, and the resources and practices of the surrounding world. You will also consider literary texts that reflect on their own relationship to media and mediation, bringing questions of media history and media theory productively into view.

Term 2
Mon Wed Fri   1:00 PM - 2:00 PM

This course examines the history of books that have flaps, foldouts, popups, wheels, flip movies, and so on. While such books are as old as the book itself, they are most often overlooked in histories of the book. The course approaches the book as a medium, as a process, rather than as an inert product of the printing press. The learning outcomes of the course include an understanding of the book as a cultural technique of enormous importance historically; a basic understanding of media history; and an interactive understanding of book technology through panel presentations on specific books (provided by the instructor), and through the demonstration copies of books from the instructor’s collection that will be circulated in the classroom.

Term 1
Tue Thu   12:30 PM- 2:00 PM

Old English Language and Translation

“You must remember we knew nothing of [Old English]; each word was a kind of talisman we unearthed…And with those words we became almost drunk.” –Jorge Luis Borges, “Blindness”

Old English, the earliest form of English, offers an uncanny sensation: so different from present-day English that it must be studied as a foreign language, it is an ancestor whose patterns reveal themselves quickly to the learner. Old English literature is strange, intimate, and violent: a general falls into his bed after a woman’s brutal swordstroke; a feud erupts at a wedding; a tree, torn from the wilderness to become an unwilling instrument of torture, clings to Christ in what Borges calls a lovers’ embrace. This literature is usually read in translation, but in this class you will begin to read it in the original. You will learn the fundamentals of Old English grammar, syntax, and vocabulary; specialized poetic vocabulary and the basic rules of poetic composition; and unusual features that have been lost in the journey from Old to present-day English.

Term 2
Mon Wed Fri   1:00 PM - 2:00 PM

Course description not yet available.

Term 2
Mon Wed Fri   9:00 AM - 10:00 AM

The Arthur of the Britons

King Arthur, Lancelot, Guenevere, the Round Table, the Holy Grail - these names familiar to many of us, but how did that happen? How did stories that originated in early medieval Britain end up so widespread and popular that they’re still being retold today? In this course, we go back to the beginning. We’ll look at the strange Welsh poems and tales that might show us the oldest versions of Arthur. We will read the twelfth-century Latin history that gave the world the first connected life story for Arthur. These texts will be read in translation, but we’ll also read poetry and prose in Middle English, moving gently through the amazing alliterative poem Sir Gawain and the Green Knight, as well as Sir Thomas Malory’s prose Morte D’Arthur, the text most responsible for passing the stories of Arthur and his knights to the post-medieval English-speaking world. There’s an apartment building in Vancouver called “Sir Galahad” – by the end of this course, you’ll recognize the reference, and also be able to appreciate just how weird it really is…

Required Texts:

• The Mabinogion, translated by Sioned Davies
• The History of the Kings of Britain, translated by Michael Faletra
• Sir Gawain and the Green Knight, Broadview facing-page edition (translated by James Winny)
• Sir Thomas Malory, The Morte Darthur, Oxford World’s Classics edition

Term 1
ONLINE ASYNCHRONOUS

Love and Honour: Medieval Chivalry and Courtly Love

The courtly poetry of medieval Europe develops out of a vibrant reimagining of elite culture in the twelfth-century that spread like wild-fire across the courts of Europe. The development of the entwined ideologies of chivalry and courtly love (fin amour) create an environment that produces some of the masterpieces of European literature. This course examines these two social phenomena from their origins in the twelfth-century court culture exemplified by the poetry of Chrétien de Troyes, Andreas Capellanus, and others, through to the flourishing of literary activity in the world of fourteenth-century England.

We will read a range of medieval texts, some in modern translation and some in the original Middle English, ranging from Chrétien’s Lancelot, selections from chivalric manuals, secular and religious love lyrics, Sir Perceval of Gales, to the popular romance The Wedding of Sir Gawain and Dame Ragnall. Finally, as the capstone text of the course, we read the alliterative Sir Gawain and the Green Knight, a complex meditation on honour, love, the natural world, and the search for human perfection. This classic text, long central to the canon of English literature, will be examined through lenses both traditional and contemporary, asking not only what it meant in its fourteenth-century context, but what it continues to mean to us today in our own time of cultural and environmental crisis.

Term 1
Tue Thu   2:00 PM - 3:30 PM

Chaucer’s Canterbury Tales: A World of Words and a Sea of Stories

With the help of a reader-friendly edition and a series of structured but gentle lessons, you will acquire facility in reading Chaucer’s Middle English. More importantly, you will learn how Chaucer makes use of his language’s power in assembling a series of narratives ostensibly told by the diverse company of pilgrims he met on the way to Canterbury. The pilgrims’ tales create a conversation about many themes, including class, love, sex and gender, work, language, the nature of narrative itself, and the pleasures and travails of studenthood, and our class meetings will reflect the collection’s spirit with regular sessions of open discussion. We will consider the linguistic and literary innovations that led readers to consider Chaucer the “father of English poetry” together with the sense of humour – by turns satirical, bawdy, and self-deprecating – that makes reading his poetry a constant joy.

Term 2
Tue Thu  2:00 PM - 3:30 PM

Madness and Folly in the Renaissance

Madness and folly fascinated Renaissance humanists, who celebrated the figure of the “witty jester” or “wise fool” in their writings. In this course, we will explore various depictions of “unreason” or irrationality in Renaissance texts, paying particular attention to the paradoxical discourses that often seem to accompany such representations. Among others, we will examine descriptions of love as a malady in early modern medicine and as a source of inspiration in Neo-Platonic, Petrarchist, and Elizabethan poetry, analyze the age-old association between melancholy and genius in humoral theory, consider the power of the imagination in Montaigne’s Essays, and compare playful personifications of Folly in works by Erasmus and Louise Labé. We will also study representations of madness and folly in two of Shakespeare’s tragedies (Hamlet and King Lear) along with some more recent readings from cultural theory and the social sciences.

Term 1
Mon Wed Fri   10:00 AM - 11:00 AM

Shakespeare’s London

Our lecture-based course focuses on “London” in Shakespeare’s drama. Shakespeare never wrote a play set in contemporary London, as many of his playwrighting colleagues did. The capital is only explicitly featured in his plays about England’s historical past. It is nonetheless often argued that the towns and urban centers where other Shakespearean plays are set actually serve as screens for this growing metropolis. Our course will survey three of Shakespeare’s history plays set in London; one of his plays whose setting is perhaps a screen for London; and three plays about contemporary London that were written by Shakespeare’s colleagues. Our course topics will be the poetics of historiography, London’s urban geography, and representations of royalty and immigrants, and elites and laborers in these plays.

Readings will include Shakespeare’s Henry IV, Part 1 and The Merry Wives of Windsor; the Shakespearean collaborations Sir Thomas More and Henry VIII (All is True); The London Prodigal, which used to be attributed to Shakespeare; Thomas Middleton’s A Chaste Maid in Cheapside and Middleton and Thomas Dekker’s Roaring Girl. There will be 2 in-class exams and a final essay.

Term 2
ONLINE ASYNCHRONOUS

Term 2, TR  12:30 - 2:00

Course description not yet available.

Term 2
TR  9:30 AM - 11:00 AM

Course description not yet available.

Term 1
Mon Wed Fri   11:00 AM - 12:00 PM

So much drama! Eighteenth-century Theatre

After the silence of the Puritan Commonwealth, London’s theatres burst into social, artistic and ideological prominence (and no small fabulousness) with the restoration of King Charles II. Through tragedy, burlesque, and several types of comedy, plays contributed to cultural dialogues on the relative identities of the nation and the individual through sites of tension among conflicting elements like noble heroics, brilliant wit, political subversion, historical revisionism, and some rather explicit sex. We will consider the ways that English playwrights and stage practices echoed and interrogated the implications the ways the dramatic genres of the era embraced both spectatorship and readership and made the political into the (very) personal.

Looking for a head start this summer?

Consider the pairing of Wycherley’s Country Wife and Behn’s The Rover, two very different takes—sparkling and pitch dark—on the stakes and implications of the Restoration’s most lasting genre, the ostensible comedy of libertine seduction. Or the quite startling, proto-postmodern comedy with a Nabokov-esque mad editor in Fielding’s Tragedy of Tragedies.

Term 1
Tue Thu   2:00 PM - 3:30 PM

Making Middle-Class Girls: Gender, Class, Education, and Unspoken Anxieties in Eighteenth-Century Writing for Youth

Ever since the emergence during the mid-seventeenth century of books addressed to children and adolescents, parents and educators have worried about the detrimental effects of reading on the young. While adults’ anxiety rarely reached levels reflected in today’s fevered debates about libraries and school curricula (panic surrounding the erotic dimensions of Samuel Richardson’s Pamela (1740) being a notable exception), eighteenth-century writers regularly reassured parents and guardians of the educational value of the works they wrote for youth. In this course, we’ll look at the careful balancing act performed by eighteenth-century writers who hoped to entertain one group of readers, middle-class girls, while preparing them for the demands of adult life. In doing so, we’ll consider a range of concerns these writers explicitly addressed, including the duty of daughters to parents, guardians, and God, the challenge of distinguishing appropriate suitors from merely fashionable ones, and the social and domestic obligations of the middle-class wife. We’ll also consider a very different concern that, because it sparked anxiety among parents and educators who wanted to shield youth from the dangers of the world, was for the most part relegated to the edges of texts or represented figuratively—the looming challenge of adult sexuality.

Readings will include fairy tales by Charles Perrault and Jeanne-Marie LePrince de Beaumont, Sarah Fielding’s The Governess; or, The Little Female Academy, Mary Ann Kilner’s The Adventures of a Pincushion, Designed Chiefly for the Use of Young Ladies, and Mary Wollstonecraft’s, Original Stories from Real Life, along with short excerpts from works by John Locke, John Bunyan, Samuel Richardson, and Maria Edgeworth.

Term 1
Tue Thu  9:30 AM - 11:00 AM

“Stranger Things:”  Romanticism and Society, Then and Now

Following the 18th Century revolutions in France and the U.S., Romanticism was the original cultural response to the same forms of democratic politics, consumer capitalism, patriarchy, globalism and imperialism that continue to organize our world today.  Key Romantic concerns pervade culture today so thoroughly that we forget their historical origins: our incalculable potential for god-like creativity; our unavoidable subjection to unpredictable change and trauma; and, above all, the radical, dynamic interconnectedness of everything (of the familiar and the strange, nature and technology, individual and collective, local and global, activity and passivity, sophistication and naiveté, etc.)  This class examines Romanticism's founding documents and recent echoes to illuminate not just our history but ourselves.

Required Texts:

• Mary Shelley, Frankenstein (1818)
• Jane Austen, Northanger Abbey
• Jane Austen, Persuasion
• Charlotte Brontë, Jane Eyre

Term 2
Mon Wed Fri   12:00 PM- 1:00 PM

Romantic Poetry: Space, Environment, Media

This course invites students to consider how the poetry and poetics of the Romantic period conceives of space and environment in ways that remain fundamental and important today. How, we will ask, does poetry and poetic language help us not simply to represent the world, but actually to create it or perhaps imagine alternatives to it? And how does reading this poetry enable us to recognize (that is, see or know again) with new eyes and encourage us to make it different? In other words, we will think about these poems as creative acts of mediation. We will read examples of several popular poetic genres from the Romantic period including songs, ballads, sonnets, odes, and fragments. These will be supplemented by selections of poetic and aesthetic theory, political, religious, and scientific writing, and paintings, illustrations, and sculptures so that we can gain a sense of what people in the period imagined the spaces and environments around them to be and how they used those imaginary spaces to engage and re-orient (still) urgent issues like race, gender, climate, and power. Our readings will feature some famous, and some not-so famous Romantic poems, but all of them will be manageable (i.e. SHORT) so that we can spend as much time as one-hour class sessions allow attending to their language, imagery, and operations. Students will be invited to participate in poetry’s world-making capacities by building on and against Romantic poetics in class activities, writing assignments, and creative projects.

Required Texts: The Broadview Anthology of Romantic Poetry (ed. Black et al., 2016)

Term 1
Mon Wed Fri   12:00 PM - 1:00 PM

This survey of US literature to 1890 is organized around the theme of the self: Self-making, self-deception, self-reliance, self-expression, self-deception, self-representation, etc. We will begin with a hip hop opera based on the biography of the US’s first Secretary of the Treasury Alexander Hamilton, one of the first self-made men in America. We will then read nonfiction about self-reliance by an early environmentalist (Thoreau) and a US philosopher (Emerson); lyric (self-expressive) poetry by Whitman and Dickinson; and life writing by a former slave (Jacobs) and the first Asian American author (Sui Sin Far). The course will wrap up with a novel written by 13 contributors that confronts the American mythology of self-making OR a recent book about five generations of a Chinese American family. 

Texts may include: 

• Lin-Manuel Miranda and Jeremy McCarter, Hamilton: The Revolution 
• Ralph Waldo Emerson’s essay “Self-Reliance” (1841)
• Selections from Walt Whitman’s Song of Myself
• Emily Dickinson’s selected poems
• Henry David Thoreau’s memoir, Walden (1854) 
• Herman Melville’s novella, Benito Cereno (1852) in Billy Budd, Bartleby , and Other Stories
• Harriet Jacobs’ autobiography, Incidents in the Life of a Slave Girl (1861)
• Sui Sin Far’s memoir, “Leaves from the Mental Portfolio of an Eurasian” (1909) 
• Elizabeth Jordan’s ed. Composite novel The Sturdy Oak (1917)
• Ava Chin, Mott Street: A Chinese American Family’s Story of Exclusion and Homecoming (2023)

Term 1
Tue Thu  11:00 AM - 12:30 PM

Popular Victorian Fiction from Page to Stage

“No, I haven’t read it – but I saw the play!” In the nineteenth century, stage adaptations helped to create and to sustain a novel’s popular success, much as screen adaptations do today. In this course we will explore how and why Charlotte Brontë’s Jane Eyre, Lewis Carroll’s Alice’s Adventures in Wonderland, and Thomas Hardy’s Far from the Madding Crowd became – and have remained – so popular with readers, script writers, and theatre-goers. Questions that we will ask include: why is Jane Eyre one of the most popular English novels ever written, inspiring successive generations of authors and artists of every description? How did Alice’s Adventures in Wonderland become a culture-text, a text that occupies such a prominent place in the popular imagination that it is collectively known and “remembered” even when the original work has never been read? Why has Far from the Madding Crowd been popularly defined in seemingly contradictory ways: as sensation fiction, pastoral idyll, traditional ballad, love story, and realistic novel?

As we attempt to answer these and other questions of cultural production, we will also explore the ideological assumptions – with respect to gender, race, class, sexuality, mental and physical ability, the environment, ethics, religion, education, aesthetics, etc. – implicit in the novels and in a selection of stage adaptations from the Victorian period to the present, and in our (and the Victorians’) readings of them.

Pre-reading of at least one of our longer novels (Jane Eyre and Far from the Madding Crowd) is highly recommended.

Reading and viewing list: Charlotte Brontë, Jane Eyre (Oxford World's Classics); Jane Eyre or The Secrets of Thornfield Manor, adapted by John Courtney, 1848 (Jane Eyre on Stage, 1848-1898, UBC Library); Jane Eyre, devised by the Company and directed by Sally Cookson, 2015 (Drama Online, UBC Library); Lewis Carroll, Alice’s Adventures in Wonderland (Broadview); Alice in Wonderland: A Musical Dream Play, in Two Acts, for Children and Others, Act I, adapted by Henry Savile Clarke, music by Walter Slaughter, 1886 (the script will be posted on Canvas, the score is posted by the University of Rochester, and links to recordings, including the 2020 University of Kent performance, are posted on Lewis Carroll Resources); wonder.land, directed by Rufus Norris, lyrics and text by Moira Buffini, music by Damon Albarn, 2015 (Drama Online, UBC Library); Thomas Hardy, Far from the Madding Crowd (Oxford World's Classics); Far from the Madding Crowd, adapted by Joseph Comyns Carr and Thomas Hardy, 1882 (to be posted on Canvas); a twenty-first century adaptation of Far from the Madding Crowd TBD.

Term 2
Mon Wed Fri   9:00 AM - 10:00 AM

Middlemarch, Roots and Branches

Anthony Trollope called Middlemarch the first “psychologically realistic” novel; Virginia Woolf “the first novel for grown-up people.”  Despairing of any more precise definition, William James called Middlemarch "fuller of human stuff than any novel ever written."  What "human stuff" is supposed to mean, James, the first modern psychologist, lets Middlemarch define.

Middlemarch outgrows prior novels’ psychological naïveté like its protagonist Dorothea outgrows her typically feminine "toy-box education."  Middlemarch explores the actual experience, frustrations and disappointments of modern mass society, detailing ongoing developments in politics, science and technology, communication, transportation and medicine.  "George Eliot" was the publicly-known pseudonym for Mary Anne Evans since after her first novel Adam Bede became a big success, her subsequent novels and essays made her the dominant literary voice of her time, and after Eliot (also like Dorothea) endured intense public shaming, ostracism and legal jeopardy, due to her love life.  The story of Dorothea’s liberation from patriarchy is above all the story of the liberation of a newly self-conscious reading public, asserting its own capacity to question patriarchal narratives.

Despite its modern, grown-up realism, Eliot herself called Middlemarch a “domestic epic," as if Homerically singing the dramas of ordinary, prosaic, modern family life.  Indeed, a literal translation of "Middlemarch" is "in medias res"--'beginning in the middle'--the narrative form typical of epic poetry:  dramatizing individual lives and events marching to the pulse of mythically large, systemic forces and patterns, and inviting contemporary mass-market literary consumers to do likewise.

Middlemarch breaks apart the imperial complacency of the Victorian era, showing modernity emerging from the revolutionary poetry of Romanticism, Ludwig Feuerbach's radical materialist and socialist rewriting of Christianity, Darwin's new science, and new technologies like the microscope and railway, demolished presumptions about the nature of space and time and identity.   The ultimate distinction of Middlemarch, perhaps, is to teach readers to recognize and appreciate distinctness itself--the distinctness of any individual's experience--as paradoxically integral to modernity's new cultures and technologies of global interconnectedness.

Term 2
ONLINE ASYNCHRONOUS

A World of Shadows and Monsters: Imagining the Supernatural in Victorian Literature

This 13-week, fully asynchronous course examines several genres of literature popular in the nineteenth-century, while focusing on the place of the supernatural in that literature. At a time of great change, socially, financially, scientifically and on a broader level, politically, many writers of fiction turned to the supernatural as a way to mediate this experience of change. This course will explore how some of the most popular writers of the century, including Oscar Wilde, Charlotte Brontë, Charles Dickens, George Eliot, and R.L. Stevenson, engaged with the supernatural and with the contemporary issues of social justice. Our core textbook, The Broadview Anthology of British Literature: The Victorian Era, 3rd edition, includes several of our texts, but we will also use stand-alone editions of others. This course will require essays, regular discussion and peer review contributions and a final examination that will be invigilated via Zoom.

Term 2
Tue Thu  9:30 AM - 11:00 AM

Haunted Landscapes of Gothic Modernism

“in the middle of my party, here’s death, she thought” -- Mrs. Dalloway

Modernism was born out of seismic, revolutionary shifts in society and culture. World wars, political revolutions in Europe and beyond, murderous civil and colonial/imperial wars, economic depression, and successive waves of technological modernization offering mixed psychological and social benefits and injuries laid siege to assumptions that the world was in any way well-ordered or reliably understood. Its literature both reflects conscious innovation and experiment and sometimes opposes these passions for change. Its obsessions respond in complex ways to those seismic shifts in its representations of gender and sexuality, social structures, race and culture, in all cases often in terms of transgression.

And yet, in its drive to make things new, Modernist literature is often a haunted place: spectres of ancestry, of war, of places escaped from collide with the present moment, creating a dark, Gothic modernity. This troubled place will be our focus as winter turns to spring.

Texts: Core texts tentatively include Henry James, The Turn of the Screw (to be read as a Modernism precursor), Dorothy L. Sayers, Strong Poison; D.H. Lawrence, Women in Love; Virginia Woolf, Mrs. Dalloway; James Joyce, “The Dead”; and Katherine Mansfield, “Prelude” and “At the Bay”; plus perhaps one more work of short fiction.

Evaluation: Evaluation will be based on a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 1, ONLINE ASYNCHRONOUS

Some descriptions of Modernism offer bloodless abstractions about formal experimentation, academic disruption, and reactions against conventional morality. This course concentrates on the wildly passionate commitment of moderns to changing the world, to finding new sensations and affects, to overcoming historical evils and biases, to appreciating with sincere admiration other arts, other cultures and languages, and other places. The practices of the literary avant-garde may be a kind of cosmopolitanism of the arts, opening borders between different aesthetic media, traditions, and forms, to correspond with the opening up of the planet’s borders through technologies of speed in movement and communication. This course analyzes Modernism through the lens of its discrete experimental literary and artistic movements, networks, manifestos, and performances. Topics include Decadence, the New Woman, Expressionism, Manifesto Modernism, Impressionism, Surreality, Psychoanalysis, Minimalism, Technological Modernity, and Graphic Modernisms. Writers include Stein, Yeats, Rhys, Woolf, Joyce, Eliot, Conrad, others.

Term 1
Tue Thu   11:00 AM - 12:30 PM

 Modern Novels and Contemporary Crises: Trans/historical Approaches

English 366 engages with canonical and controversial Anglo-American novels on modern social crises. Between World War I (1914-1918) and World War II (1939-1945), many intellectuals confronted a world that seemed to be in ruins: the unsettling epoch stimulated aesthetic innovations and ideological risks in prose fiction. Attending closely to these contested issues and experimental modes, our multidisciplinary discussions will encompass topics such as war and peace (Virginia Woolf, Mrs. Dalloway); industry and ecology (D. H. Lawrence, Lady Chatterley’s Lover and John Steinbeck, The Grapes of Wrath); and fascism and democracy (Richard Wright, Native Son and George Orwell, Nineteen Eighty-Four). The questions raised by the interwar novel resonate today. Hence, this class highlights trans/historical approaches to modern fictions to explore contemporary struggles to re-imagine forms of collectivity in the midst of protracted military conflicts, accelerating environmental degradation, and persistent civil divisions. The course requirements may include a midterm, an essay assignment, and a final examination. Please note that discretion is advised: this course focuses on mature subject-matter.

Term 1
Mon Wed Fri   10:00 AM - 11:00 AM

Eros and Death in the Modern American Novel

• Kate Chopin, The Awakening (1899)
• Willa Cather, A Lost Lady (1923)
• F. Scott Fitzgerald, The Great Gatsby (1925)
• Ernest Hemingway, The Sun Also Rises (1926)
• Nella Larsen, Passing (1929)
• William Faulkner, The Wild Palms (1939)

We'll explore the ways in which these novels represent the power of the life drive (eros, desire, fantasy, sexuality, freedom, praxis) as it struggles against a range of repressive realities, including the often vicious social divisions of race, class, labour, and gender. Our analytical key words will include dream, imagination, the unconscious, narcissism, symbolism, condensation, displacement, repression, repetition, law, censorship, the uncanny, Eden, wasteland, pastoral, aphanasis (the fading or the disappearance of a star, of desire), death, mortality. Each student will be asked to deliver a short (five-minute) informal presentation:  "Open the book, read something aloud, make an observation or formulate a question--discussion will follow." Students will also write three short essays (one in class) based on close reading of a literary text. There will be a final exam. Classroom conversation will be encouraged. Attendance will be taken.

Term 2
Mon Wed Fri   11:00 - 12:00

Post-Apartheid South African Literature

“It was easier to write about the past . . . because the past created ready-made stories. There was a very clear demarcation between good and evil . . . Black was good; white was bad.  Your conflict was there. There were no gray areas. We no longer have that. In this new situation, black is not necessarily good. There are many black culprits; there are many good white people. We have become normal. It’s very painful to become normal.” (Zakes Mda)

Fifty years of oppression under the South African apartheid system inspired an impressive corpus of protest literature, but how have writers responded to the collapse of the racist regime and its replacement with a democratic constitution?  Our study of recent South African writing will include Zoë Wicomb’s David’s Story, Zakes Mda’s The Heart of Redness, Phaswane Mpe’s Welcome to Our Hillbrow, Damon Galgut’s The Good Doctor and Sello Diuker’s Thirteen Cents.

Term 2
Tue Thu   9:30 AM - 11:00 AM
Email: c.kim@ubc.ca

The Cold War in Asia: Asian American and Asian Canadian Responses

The period post-WWII until the 1980s is conventionally understood in the West as the Cold War. Marked by events such as the Cuban missile crisis, the war in Vietnam, and the fall of the Berlin Wall, these years are remembered as a tense time when it seemed that the conflict between communist and capalist democratic ideologies might result in the outbreak of nuclear war. At the same time, it is important to remember that these same tensions played out very differently in Asia and took the form of multiple bloody and violent wars.  This course will return to this historical period in order to rethink what is conventionally remembered in the West as a conflict between the US and the USSR as a struggle that also involved—and, indeed, was staged in—Asia.

By reading novels, a novella, poetry, and a memoir that move us through the Chinese civil war, the Korean war, the wars in Southeast Asia, and North Korea, we will explore the legacies of Cold War logics and the afterlife of the wars in Asia for Canadians and Americans. How do these contradictory memories and competing historical narratives shape how Asians in North America imagine themselves and are understood by non-Asians? How does what critic Jodi Kim calls the “protracted afterlife” of the Cold War continue to influence current conversations about migration, citizenship, and global events and politics? We will contextualize our discussions of these literary texts with critical and theoretical material and documentary films in order to think critically about these competing cultural representations and the narratives they produce.

Required Readings (subject to change):

• Samantha Lan Chang, Hunger
• Chang-rae Lee, Native Speaker
• Madeleine Thien, Dogs at the Perimeter
• Souvankham Thammavongsa, Found
• Y-Dang Troeung, Landbridge

Additional theoretical readings will be available via UBC Library.

Course Evaluation (subject to change)

• Participation - 10%
• Reading Quizzes (2x5%) - 10%
• Close Reading Essay (600 words)  - 15%
• Creative Assignment (response + 600 words) -  25%
• Research Essay Proposal - 5%
• Research Essay (1800 words) - 35%

Term 1
Mon Wed Fri   12:00 PM - 1:00 PM

Course description not yet available.

Term 2
ONLINE/ASYNCHRONOUS

In this course, we will be reading, thinking, writing, and speaking about Canada and Canadian literature. These are contested terms, concepts, and “territories.” What is Canada? How did it get this way? What is Canadian literature, or "Canlit"? What is its history and present context? Why do some writers want to “break up” with Canlit, or call it a “dumpster fire”? We'll be reading and listening to poetry, fiction, non-fiction, and interviews; watching film and video clips; writing discussion board posts and essays; and developing creative projects.

Term 1
Mon Wed Fri   3:00 PM - 4:00 PM

Office: Buchanan Tower 505
Office Hours: Monday, Wednesday, & Friday 2-3:00PM (or by appointment)
Email: dallas.hunt@ubc.ca 

NDN Time: Past and Presents Erased, Futures Foreclosed

This course will examine how different populations stake particular claims to the future, and the political, existential, epistemological, and ontological ramifications of these claims. This work is interested and attentive to the ways in which Indigenous peoples are often written out of the futures that are imagined in mainstream speculative and science fiction texts, while also remaining as a spectral, disavowed presence in contemporary life. In response, this course foregrounds Indigenous futurisms, the otherwise worlds they propose, and the radical futurities they cultivate, while grappling with the present colonial conditions that we must contend with in order to make these futurities vibrant realities. This course intends to foster deepened engagement with the topic of Indigenous futurities, and its relationship to contemporary social and ecological challenges in settler colonial societies. It will result in varying engagements with Indigenous notions of time, kinship, change, and continuity. These notions offer different modes of imagining possible shared futures than are often presented in mainstream texts. The course will feature engagements with scholars, artists, and writers working within the fields of speculative futures, as well as scholars working on ideas of settler replacement, elimination, and self-Indigenization  This course, however, differs from these accounts by situating and framing these issues through a futurist lens, and unpacking how depictions of what José Estaban Muñoz (2009) describes as a “forward- dawning futurity” comes to bear on the present and the political, social, and artistic projects in which many settlers are invested. Finally, This course will foreground the voices of Indigenous peoples, especially as it pertains to articulations of the future for Indigenous, Black, and racialized communities. In doing so, we will aim to decentre settler colonial narratives, and centre the radical alternatives Indigenous futurities have to offer.

Term 2
Mon Wed Fri   12:00 PM - 1:00 PM

Course description not yet available.

Term 2
Tue Thu   2:00 PM - 3:30 PM

Nationalism and Globalization in Postcolonial Literature

The era of decolonization and postcolonial independence in the second half of the twentieth century heralded the arrival of multiple new nation-states on the global stage. This course will survey key postcolonial texts to think about the politics of nationalism: how did nationalism fuel anti-colonial and pro-independence movements? What kinds of political hopes and promises were invested in the formation of new nation-states? How did nationalism mask social and gender inequities in these new political entities? And how did the forces of globalization and economic neocolonialism continue to shape the histories of these nation-states, even as these countries achieved political independence? To keep a tighter literary, political, and geographical focus, it is likely that the reading list will be drawn to a large extent from African literature. Texts we may read include: Joseph Conrad’s Heart of Darkness; Chinua Achebe’s Things Fall Apart; Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born; Ngugi Wa Thiong’O’s Petals of Blood, Ama Ata Aidoo’s Our Sister Killjoy, Tsitsi Dangarembga’s Nervous Conditions; Jamaica Kincaid’s A Small Place; J.M. Coetzee’s Disgrace; and Taiye Selasi’s Ghana Must Go. Assessment will take the form of regular reading quizzes, active participation, essays, and in-class exams.

Term 2
Tue Thu  12:30 PM - 2:00 PM

Course description not yet available.

Term 2
Mon Wed Fri   10:00 AM - 11:00 AM

Moving Images, Moving Texts: Adaptation, Migration, and World Literature

“For me Africa is like the seas Melville missed so much.” – Claire Denis on Beau Travail

Modernity is defined by movement: movements of people, movements of capital, and the movements of narrative. What possibilities emerge when we bring these movements into conversation? Does the transformation of text into image, or moving image into text, allow us to rethink our relationship to migration, to contemporary history, and to cultural influence?

Drawing on a range of texts and films, we’ll look to bring together a range of otherwise distant people, spaces, and times into conversation. How does Herman Melville’s Billy Budd allow Claire Denis to interrogate the remnants of France’s colonial empire in East Africa in Beau Travail? Why might Nicole Krauss’s narrator in “Seeing Ershadi” be convinced that she has glimpsed the lead of Abbas Kiarostami’s Taste of Cherry? Why might Mati Diop transform her own short documentary about the hardships of economic refugees, Atlantiques, into a fantastical love story, Atlantics?

Other texts include (subject to change):

• William Faulkner - Barn Burning
• Haruki Murakami -  Barn Burning
• Lee Chang-Dong (dir.) - Burning
• Marjane Satrapi - Persepolis
• Marjane Satrapi and Winshluss (dir.) – Persepolis
• Susan Orlean - The Orchid Thief
• Spike Jonze - Adaptation

Term 1
ONLINE ASYNCHRONOUS

Coming of Age from the Margins: Youth, Migration, and Contemporary World Literature

This asynchronous online course draws on a range of texts from around the world to ask how contemporary literature has represented and responded to crucial issues that mark our experience of the 21st century. Focusing on the stories of young protagonists from a diverse range of settings, we will explore how migration shapes what it means to be young in the modern world, and how youth shapes our experiences of migration. Drawing on novels, short stories, and an autobiographical graphic novel, this course encourages students to think about questions of belonging, race, gender, and sexuality beyond the familiar frameworks provided by the nation-state and traditional literary forms. Texts studied include Funny Boy by Shyam Selvadurai, What Strange Paradise by Omar El Akkad, Welcome to Our Hillbrow by Phaswane Mpe, Persepolis by Marjane Satrapi and Binti by Nnedi Okorafor.

Term 1
Tue Thu   11:00 AM - 12:30 PM

U.S. Fiction of the 1970s

This course will examine an under-studied and often misunderstood era in U.S. fiction, asking what kinds of traditions the great writers of the 1970s tapped into, what literary experiments they performed, and why. I will point us to some necessary historical background (on the Vietnam War, on countercultural legacies, on racial relations, on Nixon, etc.), but our main object of curiosity will be the undercurrents of paranoia, disillusionment, and “feel” for the times that these textual artifacts effect. It should be, like all deep reading experiences, a great adventure. Students will participate in discussions and write two analytical essays, each about 1500 words in length, and a final exam. Texts will include: Joan Didion, “Slouching Towards Bethlehem” and “The White Album” (essays); Don DeLillo, End Zone; Toni Morrison, Song of Solomon; Octavia Butler, Kindred; Tim O’Brien, Going After Cacciato; and Joan Didion, Democracy.

Term 2
Tue Thu   11:00 AM - 12:30 PM

Course description not yet available.

Term 1
Mon Wed Fri   11:00 AM - 12:00 PM

Children’s and YA Fiction from Africa and the African Diaspora

Children’s literature addressing the lives and concerns of Black youth, both in Africa and the African diaspora, is a flourishing sub-genre. In this course we will explore a range of contemporary texts including Chinua Achebe’s Chike and the River, Akwaeke Emezi’s Pet, Kacen Callender’s Felix Ever After, Lawrence Hill’s Beatrice and Croc Henry, Jason Reynolds’ Long Way Down, Adaobe Tricia Nwaubani’s Buried Beneath the Baobob Tree, Angie Thomas’ The Hate U Give, and Nnedi Okorafor’s Akata Witch. These very diverse texts explore issues of identity, black representation, police violence, trans and queer experience, and include works of realism, fantasy, and a novel in poems.

As well as focusing on the core texts, we will engage with theoretical perspectives on children’s literature and YA fiction, and its increasingly fluid contemporary incarnations. Students will be encouraged to develop independent critical responses to both texts and theories. Assessment will include a critical response, an in-class essay, a term paper and a final examination.

Term 2
Mon Wed Fri   2:00 PM - 3:00 PM

Posthuman Bodies, Cybernetic Selves: Responses to Technology in Writing for Young Adults

“We need to understand that five hundred years of humanism may be coming to an end, as humanism transforms itself into something that we must helplessly call posthumanism.” -- Ihab Hassan, "Prometheus as Performer"

What happens when young adult literature, which has traditionally guided adolescent readers through the task of identity formation, confronts technologies that trouble long-standing assumptions about what it means to be a self—or even a human? We will explore this question by examining recent novels, many of them dystopias, in which non-human entities lay claim to selfhood and humans are surgically, mechanically, and computationally altered in ways that call into question the very idea of human nature. Along the way, we will consider the relationship between young adult fiction and what Ihab Hassan, in an essay almost everyone interested in the topic eventually ends up quoting, called posthumanism. We will also take some opportunities to consider own relationship to--and status as--posthuman beings.

Reading:

Readings will include Madeleine L’Engle, A Wrinkle in Time;  Osamu Tezuka, “The Birth of Astro Boy”; Peter Dickinson, Eva; Neal Shusterman, Unwind; Robin Wasserman, Frozen; M.T. Anderson, Feed; Bernard Beckett, Genesis (2006); Robert Venditti and Brett Weldele, The Surrogates (2006)

Term 1
ONLINE ASYCHRONOUS

English 392 is a 14-week course that will guide you in the study and approaches to some classic Western texts and approaches to children's literature. The focus will be on British fantasy literature, by authors such as Gaiman, Tolkien, Pullman and Rowling, but we will also explore some connections with texts from other cultures. Our fully asynchronous course is part of the English Online Minor program in the Department of English Language and Literatures, but is open to English majors and to students in other programs such as Education, Language and Literacy, and Library and Information Studies. You will be reading novels, short stories and scholarly articles on children's literature throughout this term, and you will be sharing your ideas both formally, in the form of essays, and informally, in the form of discussion posts, peer reviews and games.

Term 2
Tue Thu   9:30 AM - 11:00 AM

The Lives of Plants

This is a special topics course in “Ecocriticism.” It will introduce students to critical plant studies, which is a multidisciplinary field that centers the lives of plants. Plants nourish us; they can also please us, terrify us, physiologically alter us, and re/frame how we conceptualize long anthropocentric histories of empire, gender, race, and sexuality. Our readings will range across philosophy, Indigenous (Potawatomi) storytelling, anthropology, history, landscape design, the visual arts, film, and literary writing (poetry, memoir, short fiction). Expect to read lengthier texts by Amitav Ghosh, Jamaica Kincaid, and Jeff VanderMeer.

There will be 2 in-class exams and a final term paper.

Term 1
Tue Thu   9:30 AM- 11:00 AM

British Drama Since 1956

Histories of post-WWII British drama often point to 1956 as a watershed year. The year marked the celebrated success of John Osborne’s Look Back in Anger, a play which, in its examination and criticism of a post-war, class-ridden British society, recorded the frustration of the younger British generation (the so-called “angry young men”) with the traditional values of the “Establishment,” and signalled the beginning of a dramatic revival in Britain. The late 1950s initiated an explosion of dramatic activity that gave rise to the most exciting age of British drama since the Elizabethan and Jacobean periods. A growing interest in international theatre, increased government funding, the growth of regional repertory theatre, and radical changes in the social structure of the nation all contributed to a revitalized theatrical environment during the 1960s and 1970s. And though later cutbacks in public funding at times threatened their livelihood, British playwrights continued to address in vital and exciting ways many of the important and often contentious issues facing British society during and after Thatcherism. In this course, we will survey a cross-section of British drama since 1956, ranging from the plays of the angry young men and women (Osborne; Shelagh Delaney) to the work of such seminal playwrights as Harold Pinter, Tom Stoppard and Caryl Churchill to more recent attempts by playwrights such as Ayub Khan-Din, Mark Ravenhill, Sarah Kane, Martin McDonagh, and debbie tucker green to articulate new ways of exploring theatrical representation.

Term 1
Tue  2:00 PM- 4:00 PM

Attitudes towards Canadian English

In the 1960s, the idea of a Standard Canadian English was conceptualized and illustrated to Canadians and the world in a series of four dictionaries. While in the 1970s many speakers were still somewhat sceptical about Canadian English as a “thing”, by the early 2000s the situation was very different. In this course we’ll learn about Canadian English and then aim to contribute to the existing knowledge pool as a capstone project. We will gather and analyze new data on what people think about “Canadian English”. You will learn how to write a linguistic survey, how to gather data and, most important of all, how to analyze the data using Excel. You will learn to write a paper on one variable from the survey, present work-in-progress in a class presentation and use feedback to improve your paper. Linguistic attitudes have long been neglected. In this course we’ll shine a light on them and show the real-life consequences of how people feel about their language(s).

Term 2
Tue   10:00 AM - 12:00 PM

Non-Western Rhetorical Traditions

How did Buddha compel his smartest acolytes to seek enlightenment without simultaneously confusing the masses? How might one logically prove the veracity of reincarnation within the Vedic system? How did future Somali dictator Mohamed Siad Barre motivate anti-colonial revolution? Can a single word communicate the entirety of human wisdom? This seminar will focus on Buddhist, Taoist, and Vedic theories of persuasion, as well as taking a look at 20^th century international theories of propaganda.

Term 1
Mon   10:00 AM - 12:00 PM

Modern Political Fictions and Democracy

This course uses literary analysis and critical and cultural theory to understand the genre of modern political fiction and its role in public culture. We will also extrapolate some of our findings to the contemporary moment. When Eloise Knapp Hay discusses T.S. Eliot’s The Waste Land (1922) as a poem of “radical doubt and negation,” she argues that its city made no “convincing allusions… to St. Augustine's vision of interpenetration between the City of God and the City of Man in this world.” That vision of divine interpenetration was the unconscious of Anglophone political fiction for many centuries, the eternalized Form of social Utopia. But toward what does modern democratic politics gesture when the ideal City of God is unavailable as a schema?

Modernism and its kinfolk carried out a lengthy thought-experiment during much of the twentieth century, devising new political fictions without the support of a divine guarantee of goodness. We will read a set of novels, shorter fiction, poems, and drama whose politics are overt and whose aesthetic prowess is distinctive, but not straightforward. We will support our literary readings with nonfiction essays by writers such as Woolf, Conrad, and Orwell, and theorists such as Ernesto Laclau and Chantal Mouffe, Michel Foucault, Stuart Hall, and Raymond Williams.

Preliminary book list:

• Sean O’Casey, The Dublin Plays
• Aldous Huxley, Brave New World
•  Sinclair Lewis, It Can’t Happen Here
• George Orwell, Animal Farm
• Wole Soyinka, Death and the King’s Horseman
• Philip K. Dick, The Man in the High Castle
• Ursula Le Guin, The Dispossessed

Term 1
Tue  9:30 AM - 11:30 AM

Medieval Meets Modern - Adapting Medieval English Literature

Medieval literature can seem very distant from our present time, and yet certain texts have proven endlessly interesting to readers and creative artists for centuries, right up to our own moment. In her 2012 book How Soon is Now?, Carolyn Dinshaw explores the intersection between medieval texts and modern readers through “asynchrony: different time frames or temporal systems colliding in a single moment of now.” In this course we will explore such moments of collision by focusing on two medieval texts and some 21st-century responses to them. We will start with Beowulf, an Old English heroic poem that we will read, first, in a facing-page translation. Then we will look at two works by Maria Dahvana Headley, her 2018 novel speaking back to Beowulf, called The Mere Wife, and her own, resolutely modern, poetic translation of the poem, from 2020. Our second medieval text will be Geoffrey Chaucer’s The Wife of Bath’s Prologue and Tale, from the Canterbury Tales. We will read selections of Chaucer in Middle English with facing-page translation, and then we will look at poetic responses from Jean Binta Breeze (“The Wife of Bath in Brixton Market”) and Patience Agbabi (Telling Tales). We will finish by reading and thinking through Zadie Smith’s new play, The Wife of Willesden. Course assignments will include presentations, discussion, and the possibility of your own creative adaptation.

Term 1
Thu   2:00 PM - 4:00 PM

Reimagining Jane Eyre and Alice’s Adventures in Wonderland

Why is Jane Eyre one of the most popular English novels ever written, inspiring successive generations of authors and artists of every description? How did Alice’s Adventures in Wonderland become a culture-text, a text that occupies such a prominent place in the popular imagination that it is collectively known and “remembered” even when the original work has never been read?

We will attempt to answer these and other questions of cultural production in our discussions of the novels and some of their adaptations and reimaginings. We will also explore the ideological assumptions – with respect to gender, race, class, sexuality, mental and physical ability, the environment, ethics, religion, education, aesthetics, etc. – implicit in the original works and in their reimaginings, and in our (and the Victorians’) readings of them.

Our discussions will be wide-ranging: from Jean Rhys’s famous Jane Eyre prequel Wide Sargasso Sea to Paula Rego’s lithographs, Sujata Bhatt’s Rego poems, Sally Cookson’s devised stage production, and Patricia Park’s Re Jane (described by Park as “updating Jane Eyre to contemporary New York and the world of organic produce and identity politics”); from Walt Disney’s 1951 Alice in Wonderland, which continues to define Carroll’s novel in the popular imagination, to Salvador Dalí’s art edition, Damon Albarn and Moira Buffini’s musical wonder.land, Tara Bryan’s tunnel book Down the Rabbit Hole, and the “Alice industry.”

You will be required to have read Jane Eyre in its entirety before our September 14th class. Please begin reading before our course begins.

Our reading and viewing list will include: Charlotte Brontë, Jane Eyre (Oxford World's Classics); Jane Eyre, devised by the Company and directed by Sally Cookson, 2015 (Drama Online, UBC Library); Patricia Park, Re Jane (Penguin); Lewis Carroll, Alice’s Adventures in Wonderland (Broadview); Alice in Wonderland, Walt Disney, 1951 (UBC Library); Alice in Wonderland, directed by Jonathan Miller, 1966 (Library Online Course Reserves, Canvas (only available during term)); wonder.land, directed by Rufus Norris, lyrics and text by Moira Buffini, music by Damon Albarn, 2015 (Drama Online, UBC Library).

Term 1
Fri  12:00 PM - 2:00 PM

Tudor Revivals

Our seminar takes its title from a style of architecture that was popular in late-nineteenth-century Britain and its colonies. Sometimes called “mock Tudor,” this style is steeped in the comforts of nostalgia; as such, it proves an historical fiction responding to cultural anxieties about mass industrialization and empire. In this seminar we shall activate the name of this architectural style, examples of which are still locatable in Vancouver and Victoria, to think about historical fictions that have been set in Tudor times. In their own ways, each of these texts is a “Tudor Revival” that is processing contemporary aesthetics and the political and racial economies of empire. Each student will submit weekly discussion questions, lead a seminar presentation, and submit a final essay.

We’ll begin with William Morris’s utopian novel News from Nowhere, since Morris is so closely aligned with the architectural style. From there, we’ll explore historical fictions about Tudor England in the Shakespearean collaboration Henry VI, Part 1, Walter Scott’s Kenilworth, Hilary Mantel’s Wolf Hall (likely the tv adaptation), E.F. Benson’s Mapp and Lucia, C.J. Sansom’s Shardlake mystery series, and one of the many films about Queen Elizabeth I. We’ll pair each text with literary and visual artefact from the sixteenth century.

Term 2
Mon  10:00 AM - 12:00 PM

Course description not yet available.

Term 2
Wed  2:00 PM- 4:00 PM

Twenty-First Century U.S. Fiction

This seminar will examine U.S. fiction (novels and short story collections) of the first twenty years of the twenty-first century. Topics will include postmodernism and its putative end; new forms of experimentation such as autofiction; 9/11, its aftermath, and the U.S.’s place in geopolitics; and neoliberal economics as the dominant logic of contemporary capitalism. Students will write a seminar paper based in close-reading, a final research essay, and some online posts, as well as lead and participate in discussion. Texts will include the following and possibly a few others: David Foster Wallace’s Oblivion (2004) (selected stories); Toni Morrison’s Love (2003); Rachel Kushner’s The Flamethrowers (2013); Chang-rae Lee’s On Such a Full Sea (2014); short stories by John Edgar Wideman; and Ocean Vuong’s On Earth We’re Briefly Gorgeous (2019).

Term 2
Thu  10:00 AM - 12:00 PM

Being together in the maritime world, 1790s-1850s

 At the beginning of the age of British imperial expansion, as writers imagined, described, and inventoried what they saw as colonizable or claimed as colonized spaces, they simultaneously confronted a new understanding of oceans: less as what William Wordsworth had called “the barrier flood” than as a medium connecting the world’s land masses and, by extension, its peoples. British writers often responded to the colonizing projects of their rulers and fellow citizens with anxious investigation and rumination over Britain’s porousness, its vulnerability to arrivals of people, illnesses, and emotions from abroad: in short, with defensive fantasy, or what psychoanalysts call projection. In this seminar, we will read 2-3 exemplary poetic imaginings of the unified autonomous individual of British Romantic poetry as one unstable, uncertain expression of these new understandings of being together, formulated in maritime imperial contexts in defensive response to British colonial activity. We’ll read excerpts from writings by major colonizers, e.g. James Cook, William Jones, Mungo Park, Samuel Hearne, or William H. Keating, and the engineer and economic historian Richard Phillips (who sought to position Britain as a future rival to the world’s oldest and richest empire, China) as resources for British imaginings of a maritime empire. We will take up 2-3 texts that respond to, resist, critique, and/ or set out alternatives to these models and understandings of imperial selfhood. We’ll examine critical and competitor British understandings of community or polity in protests for political reform, labour protest, and abolitionist activity (what we might think of as community-building from below.) And we’ll consider alternative models of being together in the world from Indigenous Nations, e.g. Haudenosaunee democratic traditions and the Two Row Wampum Treaty and Nuu-chah-nulth, especially Mowachaht, cosmology, kinship, and diplomacy.

Term 1
Tue  10:00 AM - 12:00 PM

Indigenous Non-fiction

Why, how and what do Indigenous writers create when they produce non-fiction works? How does engaging Indigenous non-fiction provide opportunities to understand these genres, these writers and the contexts from which they come? With a focus on six recent books from very different Indigenous, colonial and political contexts, in this course we will engage with longstanding conversations about Indigenous non-fiction as we seek to understand, as Osage literary scholar Robert Warrior puts it, “the unrecognized centrality of nonfiction writing” to Indigenous literary, political and social worlds. Over the term we will weave together these six primary texts, a range of critical work, and the perspectives and training we bring with us into the class.

• Aguon – No Country for Eight Spot Butterflies
• Buchanan – Te Motunui Epa
• Miranda – Bad Indians
• Simpson & Maynard - Rehearsals For Living
• Washout & Warburton - Shapes of Native Nonfiction
• Watego – Another Day in the Colony

Term 1
Wed  10:00 AM - 12:00 PM

In this course we’ll read a variety of lyric poems, usually about two or three per class. Some of these poems come from the sixteenth century; some from the twenty-first century; some from the centuries in between.  We’ll investigate to what extent a poem can be about anything besides itself. In other words, does a lyric poem represent an emotional state, a landscape, a work of art, or any other of the ostensible subjects of lyric poetry, or does it chiefly (or most interestingly?) represent its own writing, its own workings as a text?

Most of the poems will be available online through the library. In cases, where the library doesn’t have copies of the poems I’ll make them available from my own copies.

Term 1
Mon  1:00 PM- 3:00 PM

The Western Front, 1914-18: International Retrospectives

Neither will they understand--that will not be all my fault.  ---Edmund Blunden, Undertones of War (1928)

In “Thoughts for the Times on War and Death” (1915), written while two of his sons were serving in the Austrian army during the First World War, with a third son soon to volunteer, Sigmund Freud offered this astonishingly objective description of the escalating world war:

Not only is it more bloody and more destructive than any war of other days,
because of the enormously increased perfection of weapons of attack and defence;
it is at least as cruel, as embittered, as implacable as any that has preceded it. It
disregards all the restrictions known as International Law, which in peace-time
the states had bound themselves to observe; it ignores the prerogatives of the
wounded and the medical service, the distinction between civil and military
sections of the population, the claims of private property. It tramples in blind fury
on all that comes in its way, as though there were to be no future and no peace
among men after it is over. It cuts all the common bonds between the contending
peoples, and threatens to leave a legacy of embitterment that will make any
renewal of those bonds impossible for a long time to come.

Reflecting, moreover, on the scene of mass industrialized killing and Europe's dead millions from a post-World War II, post-holocaust, post-atom-bomb perspective, one comes to understand why George Kennan described the First World War as “the great seminal catastrophe” of the twentieth century. The visceral and visual perspectives of infantry soldiers, aviators, and military hospital nurses may enable us to grasp something of the war's terrible reality. Our readings will include eye-witness accounts from the zone of war by French, German, British, Canadian, and American participants. A warning: the course readings include graphic descriptions of extreme violence--killing, death, wounds, mutilation, corpses, soul injury--along with countless heart-rending accounts of young people "doomed to a short life" (The Iliad).

Students will give a 30-minute presentation, write a three-page essay (to be circulated in advance and read aloud), do a ten-minute informal reading ("open the book, read something aloud, formulate a question or observation"), and write a final essay.

Readings will include the following:

• Ellen La Motte, The Backwash of War: The Human Wreckage of the Battlefield as Witnessed by an American Hospital Nurse (1916)
• Henri Barbusse, Under Fire (1916)
• William ("Billy") A. Bishop, Winged Warfare (1918)
• Ernst Jünger, Storm of Steel (1920)
• Hervey Allen, Toward the Flame (1926)
• Edmund Blunden, Undertones of War (1928)
• Erich Maria Remarque, All Quiet on the Western Front (1928)
• Mary Borden, The Forbidden Zone (1929)
• Robert Graves, Good-Bye to All That (1929)
• Siegfried Sassoon, Memoirs of an Infantry Officer (1930)

Suggested Preliminary and Contextual Reading:

• W.E.B. Du Bois, "White Imperialism" (1914)
• Sigmund Freud, "Thoughts for the Times on War and Death" (1915)
• B.H. Liddell Hart, The Real War 1914-1918 (1930)
• B.H. Liddell Hart, World War I in Outline (1936)
• Barbara Tuchman, The Guns of August (1962)
• Ian Kershaw, To Hell and Back: Europe 1914-1949 (2015)

Term 2
Thu  2:00 PM - 4:00 PM

Course description is not yet available.

Term 2
Tue  2:00 PM - 4:00 PM

Black Miscellanea: Black Experiments in Form

As Katherine McKittrick writes, Black miscellanea, “signal[s] an experiment in coming to know black livingness without producing and reproducing an intellectual economy that is oversaturated with racial violence.” To that end, this course takes up considerations of Black experimental thought, methods, and forms to consider the question of Black life in the contemporary moment.

Holding the experimental at the forefront of our thought, this course will sojourn with the work of Black theorists, activists, and artists that reimagine “a way of thinking the space/time of politics for those deemed disposable or socially dead within the contexts of heteropatriarchy and white supremacy” (Audre Lorde), attending to questions of the disjunctive, the genre flail, the palimpsestic, the miscellaneous, and so forth. For example, we will consider how novelistic, poetic, and critical writings join with the sonic, the spoken, the virtual, and the conceptual performance pieces to alchemize Black life.

Our explorations will entail a critical interrogation of the intersections of race, gender, sexuality, ability, and class, with particular interest in how those social formations correspond and diverge. As part of this course, we will take a heterogenous and expansive definition of theory and include creative productions, engaging with myriad forms of texts including video games, poetry, performance art, visual art, and so forth. Students may also produce projects reflecting these forms (ex. collages, podcast episodes, short films, etc.)   

Term 2
Wed   2:00 PM - 4:00 PM

Contemporary Chaucers

In the first few weeks we will read a number of the most important and influential Canterbury Tales in a modern English translation. One focus of our discussion will be the range of sources and traditions, from Europe and beyond, that informed Chaucer’s writing of the Tales. We will then consider some of the best-known modern and contemporary adaptations, focusing on particular pilgrims and tales (the Miller, the Wife of Bath, the Pardoner) and areas (including the African diaspora in Britain, America, and the Caribbean). Works we read together may include, for example, Patience Agbabi, Telling Tales; Zadie Smith, The Wife of Willesden; Marilyn Nelson, The Cachoeira Tales and Other Poems; Kim Zarins, Sometimes We Tell the Truth; one or more collections of Refugee Tales by various writers. Class members will develop projects exploring the many ways that Chaucer is represented in the 20^th-21^st centuries: adaptation in fiction, including for children and young adults, and in poetry; stage, film, animation; translation; illustration; various kinds of allusion such as dramatic monologues based in Chaucer’s work and life. Each class member will give a presentation; there will be opportunities to present on Chaucer and his contexts, and on contemporary responses to his work.